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ROMANCE 



THE MACMILLAN COMPANY 

KEW YORK • BOSTON • CHICAGO • DALLAS 
ATLANTA • SAN TRANCISCO 

MACMILLAN & CO., Limited 

LONDON • BOMBAY • CALCUTTA 
MELBOURNE 

THE MACMILLAN CO. OF CANADA, Ltd. 

TORONTO 




DORIS KEANE AS LA CAVALLINI 
Reproduced from a painting by S. de Ivanowski. Copyright 1914 



ROMANCE 



BY 
EDWARD SHELDON 

AUTHOR OF "the NIGGER " 



^tm fork 

THE MACMILLAN COMPANY 

1914 

All rights reserved 






Copyright, 1912 and 1913, 
By EDWARD SHELDON 



Copyright, 1914, 

By EDWARD SHELDON 

Set up and electrotyped. Published September, I914' 



Copyright in 
THE DOMINION OF CANADA 



Copyright in 
GREAT BRITAIN 



SEP 24 1914 



0^ 



Ko/ 



TO 

D. K. 



ROMANCE 

"My thoughts at the end of the long, long day 
Fly over the hills and far away — " 

CHARACTERS 

In the Prologue and Epilogue: 
Bishop Armstrong 

f- his grandchildren 
Suzette ) 

In the Story: 

Thomas Armstrong, Rector of St. Giles 

Cornelius Van Tuyl, of Van Tuyl b° Co., Bankers 

Susan Van Tuyl, his niece 

Miss Armstrong, the Rector's aunt 

Mrs. Rutherford 

Mrs. Frothingham 

Miss Frothingham 

Mrs. Gray 

Miss Snyder 

Mr. Fred Livingstone 

Mr. Harry Putnam 

SiGNORA VaNNUCCI 

Baptiste 
Louis 
Francois 
Eugene 
Adolph 

Servant at Mr. Van Tuyl's 
Butler at the Rectory 
Mme. Margherita Cavallini 
vii 



The Prologue: The Bishop's library in his house on Wash- 
ington Square. New Yearns Eve. 
About ten o'clock. 

The Story: Act I. Over forty years ago. At Cornelius 
Van TuyVs house, — 58, Fifth Av- 
enue. A November evening. 
Act II. The study in the Rectory of St. 
Giles', East 8th Street. The afternoon 
of New Year's Eve. . 
Act III. Late 'that night. Mme. Caval- 
lini's apartments in the Brevoort 
House. After her farewell appearance 
as "Mignon." 

The Epilogue: The Bishop's library again. Midnight. 



Place: New York. 



Time: Now and the i86o's. 



Produced at Maxine Elliott's Theatre, New York, on Mon- 
day, February loth, igij, with the following cast: 

The Characters in the Prologue and Epilogue 

Bishop Armstrong William Courtenay 

Harry William Raymond 

Suzette Louise Seymour 

The Characters in the Story 

Thomas Armstrong William Courtenay 

Cornelius Van TuYL A.E.Anson 

Susan Van Tuyl Gladys Wynne 

Miss Armstrong Grace Henderson 

Mrs. Rutherford Mrs. Charles de Kay 

Mrs. Frothingham Edith Hinkle 

Miss Frothingham Claiborne Foster 

Mrs. Gray Dora Manor 

Miss Snyder Mary Forbes 

Mr. Fred Livingstone Paul Gordon 

Mr. Harry Putnam George Le Soir 

SiGNORA Vannucci GUda Varesi 

Baptiste Paul Gordon 

Louis Hermann Nagel 

Francois Yorke Erskine 

Eugene Alexander Herbert 

Adolph Hermann Ceroid 

Servant at Mr. Van Tuyl's M. Morton 

Butler at the Rectory Harry Georgnette 

Mme. Margherita Cavallini Doris Keane 



XI 



ROMANCE 
PROLOGUE 



THE PROLOGUE 

Scene: The Bishop's library in Washington Square. At 
right are two windows, with heavy curtains drawn. At 
left is a large fireplace, with a white marble mantel. At 
back is the door leading to the rest of the house. There are 
high bookcases, running up to the ceiling, set in both walls 
wherever there is any space. In a corner at back stands a 
Victrola, of sober mahogany. Before the fireplace, half 
facing the audience, is the Bishop's big armchair. At 
right, is a big mahogany table-desk, arranged in an orderly 
way with electric lamp, telephone, desk-furniture, books, 
memoranda, files, etc. The chair is behind it, between the 
windows. The whole room is one of quiet dignity, — 
slightly old-fashioned in efect, and very comfortable. 

It is night. The lamp on the desk is turned on and there is a 
cheerful wood fire burning. In his armchair before the 
fire sits Bishop Armstrong. He is a charming, drily hu- 
morous old man of about seventy. Suzette, — a decided 
young woman of seventeen, — is sitting at the desk, reading 
aloud from the evening paper. 

Suzette 

{Skimming over the headlines.} "Regulation of Sky- 
scrapers — Drastic Measures — " {She yawns.] "Bor- 
ough President Gives to Board of Estimates the Report on 
Improvement." {Looking up.] Sounds dull, doesn't it? 

The Bishop 
No — but if you think so, try the next. 

I 



2 ROMANCE 

SUZETTE 

[Reading.] "President in the West — Yesterday's 
Speech at Cheyenne " — Is that the way you pronounce 
it? — " Crops, Race Suicide, and Tariff Reform." [As the 
noise of horns drifts in from the street.] Oh, I do wish those 
boys would stop ! 

The Bishop 
[Philosophically.] It's New Year's Eve. 

SuZETTE 

I know, but they needn't make such a fuss about it. 
[Returning to her paper.] The President talked two and a 
half columns and he looks dreadfully dull. Do you 
want me to read him? Now, grandpa, speak the truth! 
Wouldn't you much rather have me start the Victrola? 

The Bishop 

Well, my dear, perhaps I would. Where's Harry? He 
said he wanted to speak to me after dinner about some- 
thing important. 

SuZETTE 

[Busy with the Victrola.] Oh, he just went out. He'll be 
back soon. [The song begins.] There, gTaiiidpsil Isn't that 
a splendid record? 

The Bishop 

[Singing.] Ta-ta-ta-ta! Yes — a very fine voice. Who 
is it? 

SUZETTE 

Tetrazzini. 



THE PROLOGUE 3 

The Bishop 

Ah, you should have heard Patti sing this at the Acad- 
emy in '72 — ! 

SUZETTE 

Now grandpa, I can't help being young, and anyway 
I'm sure that Garden and Fremstad and Farrar are every 
bit as good as your Grisis and Pattis and Cavallinis. And 
as for Caruso — ! 

The Bishop 

[Softly.] 7 have heard Mario! [Humming again.] Ta-ta- 
ta-ta! Now for the cadenza — [He listens.] Fair — quite 
fair! [With a sigh.] After all, there's no one like Verdi! 

SuZETTE 

Grandpa. 

The Bishop 
Yes, dear? 

Suzette 

[Beguilingly.] Which do you think would be more apt to 
melt you into a perfectly angelic, Bavarian-cream sort of 
mood — Parigi from Traviata or the Sextette from Lucia? 

The Bishop 

I'm melted already. I'm just running over the side of 
the dish. 

Suzette 

Really? No, I think you need one more. I want you 
very, very soft. [Picking out a fresh record.] Oh, here's a 
brand-new Destinn! That'll do it! 



4 ROMANCE 

The Bishop 
What's the opera? 

SUZETTE 

[Adjusting the record.] Wait and see. [The voice is heard.] 
Do you remember it? 

The Bishop 

[Looking away.] Yes — yes, I remember — [He rouses 
himself suddenly.] Don't play that, Suzette. I know I'm 
foolish, but it makes me rather sad. 

Suzette 

[Stopping the record.] I thought you'd like it. It's from 
Mignon. 

The Bishop 

Yes, I know — but — [In a different tone.] Suppose we 
have a Httle Harry Lauder for a change? 

Suzette 

[Adjusting the record.] Grandpa, your taste in music is 
low. That's the only word. And I've tried so hard to 
uplift it. Just think of those wonderful Boston Symphony 
concerts I dragged you to last winter! And now I think 
you'd rather hear / Love a Lassie than Beethoven! 

The Bishop 
[Tranquilly.] I would indeed. 

Suzette 

And you a Bishop of the Episcopal Church! [She starts 
the machine.] There! 



THE PROLOGUE 5 

The Bishop 

[Leaning back in his chair and singing under his breath.] 
"/ love a lassie, 
A bonny Highland lassie — 
She's the — " 

SUZETTE 

[Coming and perching on the arm of his chair.] Oh, 
grandpa, you are such a dear old — baby! 

The Bishop 
Yes, ma'am? 

Suzette 
And I know I bully you an awful lot. Don't I? 

The Bishop 
Well, I'm used to it! 

Suzette 

How horrid of you! Why, I don't bully you at all! Of 
course there are times when you do need disciplining — 

The Bishop 
[Smiling.] So your grandmother used to tell me. 

Suzette 
And you haven't anyone to do it except me. 

The Bishop 
I know. 

Suzette 

[Softening.] But I don't want you to think I'm a ty- 
rant — especially tonight! 



6 ROMANCE 

The Bishop 
To what am I indebted for this holiday? 

SUZETTE 

Well, I've got something to tell you. 

The Bishop 
Yes? 

Suzette 
And I don't know whether or not you'll like it. 

The Bishop 
I like everything. It's my greatest fault! 

Suzette 
[Sitddenly smiling.] Oh! oh! What about Wagner? 

The Bishop 

[Firmly.] Except Wagner. Yes, that's true — I can't 
stand Wagner! 

Suzette 
Well, I doubt if you can stand this, either. 

The Bishop 
Suppose you give me a try! 

Suzette 
All right. [She stops the record.] It's Harry. 

The Bishop 
I thought so. 



THE PROLOGUE 7 

SUZETTE 

He's gone and done it. 

The Bishop 
What? 

SuZETTE 

[All in a rush.] I mean he hasn't really gone and done it, 
because he naturally can't do anything without her and 
she says she won't do a thing until she's met you and you've 
said it's all right, so that's why Harry wanted to speak to 
you tonight and you mustn't breathe one word about my 
telling you — you see, he's planning to do it all himself, 
but when he said he thought the shock would kill you and 
he'd be held up for "episcocide" — yes, that's what he 
called it! — I thought I'd better break it to you gently. 
[Slight pause.] Don't you think I've been wise, grandpa, 
to break it to you gently? 

The Bishop 

You haven't broken it at all, my dear. I don't know 
what you're talking about. 

SuZETTE 

Why, grandpa, I've just told you! Harry's engaged to 
a girl named Lucile Anderson! 

The Bishop 

Oh! I must be getting deaf. Dear me! And who is 
Lucile Anderson? 

SuZETTE 

Well, that's just it. Lucile's an — an artist. 



8 ROMANCE 

The Bishop 
You mean she paints? 

SUZETTE 

No, she doesn't exactly paint. You know, there're all 
kinds of artists, grandpa, and Lucile — well, Lucile's art 
is — er — a very beautiful art, it's the art of — er — 

The Bishop 
Well? 

SuZETTE 

The art of — er — impersonation on the stage. [Slight 
pause.] 

The Bishop 
In short, the young lady is an actress. 

SuZETTE 

Yes. [Nervously.] Well, it doesn't make any difference. 
Lots of nice girls are nowadays. 

The Bishop 

[To himself.] An actress — ! 

SuZETTE 

[Bursting out.] But she's a perfect dear and her father 
was a well-known lawyer in Toronto, Canada, but he died 
and left her without a cent and her influence over Harry 
is very, very good and I'm sure you'll love her when you 
get to know her — I do, anyway, and I've only seen her 
four times — [Coaxingly.] Grandpa, say it's all right, 
please! Remember — it's our own Harry! 



THE PROLOGUE 9 

The Bishop 

[Drily.] That's just what I am remembering, dear. He 
always did have very little sense! 

SUZETTE 

[Reproachfully.] Why, grandpa, he played quarter on 
the 'varsity! And you said yourself that took a lot of 
brains! 

The Bishop 

[Smiling.] Did I? Well, this proves I was mistaken. 

Suzette 

Oh, dear! I — [Suddenly.] Wait! I heard the front- 
door! That's Harry — ! [She slips off the arm of his 
chair.] Now remember! Don't you get me into trouble! 

The Bishop 
I won't! 

Suzette 
Promise? 

The Bishop 

Cross my heart and hope to die! [Enter Harry. He is 
an attractive young man of about twenty-two or three — rest- 
less, young and impetuous. He wears a dinner-coat^ Well ! 
We'd almost given you up! 

Harry 

[Ul at ease.] I had to make a call. Didn't Suzie tell you? 

The Bishop 

[Tranquilly.] Oh, yes, she said something or other. 
Well, what about our little chat? 



lo ROMANCE 



Harry 



[Nervously.] Your — your rheumatism isn't bothering 
you too much, is it, sir? Tomorrow would — 

The Bishop 

Oh no ! Suzie's played all my aches away with Rigoletto 
and Trovatore. I'm fit as a fiddle, my boy, so put another 
log on the fire and go ahead. 

Harry 

All right, sir. [He puts on the log, motioning the while for 
Suzette to leave.] 

SUZETTE 

[To the Bishop.] I'll come in later and finish the Post to 
you before you go to bed. [To Harry, in a lower voice.] 
Don't worry! I've got him going! 

Harry 
Thanks, old girl. [She goes out.] 

Harry 

[Turning resolutely to the Bishop.] Grandfather, I have 
something I want to — 

The Bishop 

[Gently.] If you go to my desk, Harry, and open the 
second drawer from the top on the left-hand side, I think 
you'll see a box of cigars. [As Harry obeys.] Thank you. 
Can you find them? [Harry returns with the box.] Won't 
you have one? [Harry shakes his head.] I know they're 
not as good as yours, but I can't afford the very best brands. 



THE PROLOGUE ii 

Harry 

I don't feel like smoking now. Grandfather, I've come 
to you in order to — 

The Bishop 

[Gently interrupting.] Er — just one moment. I haven't 
any match. 

Harry 

Oh Lord! Excuse me! [He lights the Bishop's cigar.] 
There ! Now I want to tell you what's on my mind, grand- 
father. It's been there for some time and I — I — 

The Bishop 
Yes? 

Harry 
[Embarrassed.] I think I ought to — to get it off. 

The Bishop 
WeU? 

Harry 

You see — it's this way. [Pause.] 

The Bishop 

[Mildly.] What way? 

Harry 

Hang it, I don't know how to put the thing, but — but — 
[Looking up and seeing the Bishop smiling at him.] Well. 
I'll be — ! You're on! You've been on all the time! 

The Bishop 

Your intuition is overwhelming, Harry, — but it's cor- 
rect. As you say, — I'm on. [Pause.] 



12 ROMANCE 

Harry 

\Wrathfully looking at door.] I might have known no girl 
could keep a secret! 

The Bishop 

[Hastily.] It's my fault! I wrung it out of her! I 
kicked her shins! I squeezed her neck! I — I twisted her 
arm! 

Harry 

[Disgusted.] And now you're making fun of me ! Well — I 
[He straightens up defiantly.] 

The Bishop 
[Suddenly tender.] I'm not making fim of you, Harry. 

Harry 

[Uncomfortably.] I meant to tell you myself about 
Lucile. I didn't want anybody else butting in. 

The Bishop 
Of course — I know. You must love her a great deal! 

Harry 
[Still a little sulkily.] Well, I do. 

The Bishop 
And she's very pretty, isn't she? 

Harry 
[Brightening.] Did Suzie tell you? 

The Bishop 
No — I just guessed — that's all. 



THE PROLOGUE 13 

Harry 

[Enthusiastically.] And she's awfully clever, too — acts 
like a streak — and she has just bunches of character! 
Why, when it comes down to it, she's ten times too good 
for me! She's just too wonderful for anything! 

The Bishop 

[With a little smile.] Of course she is — of course — of 
course. 

Harry 

I met her at the Randalls' — you know, that painter 
fellow — and now she's all alone in a rotten boarding- 
house on Tenth Street and she has no work and her family 
are all dead — and so I really think I ought to marry her 
right off. Now don't you agree with me? [Pause.] Well? 
Don't you? 

The Bishop 

[Rousing himself with an effort.] I don't know, Harry. 
You see, you're so young — you're just beginning life, and 
you may change, and grow, my dear boy, there may come 
a time when you'll need more than any little actress can 
ever give you — [Harry makes a movement.] Oh, it's all 
right now, you love her — I know that ! But are you quite 
sure, Harry, that you'll always love her just the way you 
love her now and nothing hidden in the future — or in the 
past — can ever shake your faith and beat you down and 
break your heart? 

Harry 

I don't know what you mean. 

The Bishop 

You must be very, very sure, my boy — or else you're 



14 ROMANCE 

not fair to yourself — and what's worse — I'm afraid 
you're not fair to her. 

Harry 

[Bursting out] Oh, what's the good of talking! I just 
knew it would be this way! There's absolutely no use 
trying to do things with my family — they're all alike — • 
look at Uncle Thomas and Aunt Sarah and Cousin Ralph 
and the whole crowd of them — narrow, conventional, 
dry-as-dust! [Turning away suddenly,] If only dad and 
mummy were alive, they^d understand! 

The Bishop 

[Hurt.] Don't say things like that, Harry! You know 
I've done my best for Suzette and you. 

Harry 

[Penitent.] I know you have. I didn't mean that, 
grandpa. But you see, it's a long time now since you've 
been young and I think it's sort of hard for you to remem- 
ber back and realize what it's like and — sympathize with 
a fellow! [Going on quickly.] Oh, I know you're awfully 
wise and you can see clear through people and understand 
'em that way, but this is different — I don't believe you 
ever felt the way I'm feeling now — and so — [Gulping.] 
Oh, well, there's no use going on. Thanks for trying, 
grandpa — I won't keep you up any longer. [He is at the 
door ready to leave.] 

The Bishop 

Where are you going? 

Harry 

[A trifle defiantly.] I'm going to get married. 



THE PROLOGUE 15 

The Bishop 
Tonight? 

Harry 

Yes, we got the license this afternoon. [Slight pause.] 

The Bishop 
Come in, Harry, and shut the door. 

Harry 

[Doing so.] What do you want? 
The Bishop 

You said I couldn't remember back and realize how one 
felt when one was young — and life was just a glorious 
chaos of passion and beauty and despair. Well, I do re- 
member. Because no matter how old one grows, Harry, 
there are always some things that keep a little youth still 
burning in one's heart. 

Harry 

I didn't mean to hurt you, grandpa. 

The Bishop 

You didn't, my dear boy. But you've made me think 
of something that I'd supposed I'd forgotten — it's so long 
ago since it came up in my mind. It's something I never 
told to anyone before — I used to think I never would. 
Oh, well — times change, and I didn't realize then I was 
to have a grandson just like you. I wonder, Harry, if 
you'll have time to wait and hear about it? 

Harry 
[Distrustfully.] If you think it's anything that's going 



i6 ROMANCE 

to change my mind about Lucile, you might as well stop 
right here. [As the Bishop rises with difficulty and goes 
slowly over to the desk.] What is it, grandpa? Can't I 
get it? 

The Bishop 

[Suddenly, with a sharp intake of breath.] A-ah! 

Harry 

[Sympathetically^ Your rheumatism, sir? 

The Bishop 

\With a smile.] Don'i mention rheumatism now, my 
boy ! [He stands for a moment above the desk and shuts his 
eyes.] I'm only twenty-eight years old! [Taking a bunch 
of keys from his pocket, he unlocks a lower drawer and, after 
some fumbling, comes up with a small mahogany box which 
he lays on the desk before him.] 

The Bishop 
Do you know what's in this little box? 

Harry 

No, sir. What? 

The Bishop 

[With a radiant smile.] Romance, my boy — the per- 
fume of romance! 

Harry 

How — how do you mean, sir? 

The Bishop 

Look! [He opens the box and takes out a little wisp of 
lace.] 



THE PROLOGUE 17 

Harry 
[Awed.] What is it, grandpa? A handkerchief? 

The Bishop 

[Nodding.] A little handkerchief. [He undoes it and dis- 
closes a few old flowers.] White violets — [He sniffs them, 
then smiles and shakes his head.] They're dried and yellow 
now. Their sweetness is all gone. I'm an old man, 
Harry, but somehow — why, it seems like yesterday — 

Harry 

[Wonderingly.] What, sir? 

The Bishop 

[Turning out the desk-lamp, and crossing to his chair again, 
holding the flowers and handkerchief very carefully in his 
hands.] Ah, that's what I'm going to tell you now! Sit 
down, my boy — [As Harry obeys.] Are you comfortable 
there? That's right! — Well, it was over forty years 
ago — forty years — dear me, how the time flies! — and 
I was the young Rector of St. Giles, you know. That was 
before I married your grandmother — God bless her ! — 
although I'd known her nearly all my life. Well, Harry, 
one night — in November, it was — I went to an evening 
party at old Cornelius Van Tuyl's house and there in that 
kaleidoscope of jewels and flowers and crinolines the great 
adventure of my life began — [And, as he speaks, from far 
away comes the sound of a quaint old polka, and Harry and 
the Bishop and the whole room melt into the dark. The 
music swells and the lights, blooming again from crystal 
chandeliers, reveal the living vision of the past.] 



ROMANCE 
ACT I 



ACT I 

Scene: Evening reception at Mr. Cornelius Van TuyVs 
house, about 186'/. It is a small upstairs drawing-room. 
In the centre is the stairway leading to the rooms below. At 
left is the door to the library. In foreground, at right, there 
is a couch, turned slightly to face the audience. At its head 
stands a small, marble-topped table. At left of foreground 
is a ttte-a-tete chair. A seat runs along the balustrade 
which encircles the staircase well. Lamps in the foreground 
shed a mellow light which contrasts with the brilliance re- 
flected from the rooms below. 

The lights go up upon an animated scene. The little room is 
filled with people. At back, leaning on the balustrade 
which surrounds the well, stand two men-about-town, look- 
ing out over the rooms below. Near them are a young 
man and a girl, talking, laughing, and flirting. Another 
young man and a girl — she on his arm — cross the stage, 
chatting gaily. They turn, descend the staircase, and dis- 
appear. Mrs. Rutherford, — a rather pretty, affected 
woman, — is sitting on the couch at right. Beside her is 
Miss Susan Van Tuyl, a sensible, attractive young woman 
of about twenty-five, dressed simply and charmingly in 
white. They are listening to Mr. Harry Putnam, an 
elderly beau of the period, who stands twirling his mous- 
taches, his feet crossed, ogling and talking to them. Mrs. 
Frothingham, — a buxom, florid dowager, very richly and 
fussily dressed, — sits on the tete-a-tete at left with her 
daughter, a pretty young girl of eighteen. 

21 



22 ROMANCE 

The Young Man 

[To the young girl on his arm, as they cross the stage.] A 
very brilliant party, don't you think? 

The Girl 

Oh, quite the most elegant affair of the winter! [They 
turn to the stairs.] 

The Young Man 

[To another young man just coming up.] Oh, Frank, is 
the dancing saloon crowded? 

The Second Young Man 
Not just now. They're beginning to serve supper. 

The First Young Man 
[To the girl.] Splendid! [They go downstairs.] 

The Second Young Man 

[To Mrs. Frothingham, with a bow.] Mrs. Frothingham, 
may I have the honor of this polka? 

Mrs. Frothingham 

You droll wretch, don't you know my dancing days 
are over? 

The Young Man 

[To the girl.] Miss Frothingham, then, may be per- 
suaded to atone for — 

Miss Frothingham 

[Rising.] Of course I may! I love to polk! [They turn 
towards the stairs.] 



ACT I 23 

Mrs. Frothingham 

[Rising.] My dearest Susan — Agatha — forgive me if 
I come and talk to you. [She joins the group at couch — 
right. Meanwhile the two men-about-town are heard to speak 
from the balustrade, where they are looking at crowd below.] 

The First Man 

Who's that woman with the diamonds — down there by 
the door? I thought at first it might be Cavallini 

The Second Man 

[Turning away.] No, Cavallini's singing that new 
opera — what's its name? 

First Man 
Mignon? 

The Second Man 

Mignon — of course! She's still at the Academy — 
she won't be here till twelve. 

The First Man 
Shall we have supper now or shall we wait? 

The Second Man 

Now, my dear chap, now ! This is one of the few houses 
where Blue Seal Johannisberger flows hke water. 

The First 

[At the stairs.] And the '48 claret! I'd forgotten that — 
[They disappear below, talking. A burst of laughter from 
the girl who is flirting with the young man at the back of the 
scene.] 



24 ROMANCE 

The Girl 

You mustn't talk to me that way any more! Now give 
me your arm and take me downstairs to mamma — 

Her Partner 

Do you know you have exactly the same effect on me 
as a glass of champagne! 

The Girl 

[At the top of the stairs.] Of course, I don't know any- 
thing about that! 

Her Partner 

No, of course not. It doesn't last long — still — while 
it lasts — [They descend, talking and laughing.] 

Mrs. Frothingham 

[Sitting on the couch, at right.] You can say what you 
please, Miss Van Tuyl, the Rector's nose is not Grecian I 

Susan 

[Very politely.] Dear Mrs. Frothingham, are noses your 
only standard? 

Mrs. Rutherford 

[Shaking her head.] Ah, well — his grandfather on his 
mother's side came of very doubtful stock! An Irish 
peasant, I believe — he landed sometime about 1805. 

Susan 

Surely, Mrs. Rutherford, your memory doesn't take you 
quite as far back as all that? 



ACT I 25 

Putnam 

And to think we are condemned to listen to his sermons! 
Why, last Sunday I woke up just in time to catch the 
young puppy making scurrilous allusions tome — ! 

Mrs. Frothingham 

To you, Mr. Putnam? Dear me, I regret exceedingly 
that my neuralgia kept me from attending church! What 
did he — ? 

Susan 

He said he didn't doubt that several of our elderly 
beaux would soon be making Heaven fashionable and or- 
ganizing society among the more exclusive angels! 

[Tom is seen leisurely coming upstairs. He is about 
twenty-eight, healthy, positive, and determined. He is dressed 
very simply and a little shabbily. He has a very hearty, genial 
quality, but no humor.] 

Mrs. Frothingham 
Abominable! 

Mrs. Rutherford 
Blasphemous, I call it! 

Putnam 
Hardly the remark of a gentleman! 

Mrs. Frothingham 
But he's not a gentleman! 

Putnam 
He dresses like a pen-wiper! 



26 ROMANCE 

Mrs. Rutherford 

He spends all his spare time with working men! 

Putnam 

[To Susan.] My dear young lady, why your excellent 
uncle ever gave him the church is more than I shall ever 
understand! 

Susan 

Because uncle knows he's the coming man — that's why ! 
Look what he's done here in just these two years! Hasn't 
he built up the congregation from nothing at all to the 
third biggest in New York? Hasn't he started the athletic 
club for the young men and the cooking classes for the 
girls? Hasn't he founded our parish school for poor chil- 
dren, and got people to donate a playgroimd, and a 
circulating library, and a big hall for free lectures and 
musical entertainments? Isn't he just as much at home 
and just as much loved down in a Bowery saloon as he is 
here in a Fifth Avenue drawing-room? Isn't he — 

Putnam 
My dear Miss Van Tuyl! 

Mrs. Frothingham 
He's impossible! 

Mrs. Rutherford 
Outrageous! 

Putnam 
A blot on the parish! 

Mrs. Frothingham 
A disgrace to the church — 



ACT I 27 

Putnam 

[Suddenly seeing Tom.] Er — what wonderful weather 
we're having! 

Mrs. Rutherford 

[To Mrs. Frothingham.] Rather cold for November, 
don't you think? 

Mrs. Frothingham 
[Trembling.] Yes — yes — very warm indeed — 

Susan 

[Bewildered.] But — [She turns and sees Tom.] Oh, I see! 
[Smiling.] We're talking about you, Tom. 

Tom 
[Briefly.] I heard. Thank you, Susan. 

Mrs. Rutherford 
[Rising.] We were all saying the most flattering things — 

Mrs. Frothingham 

[Rising.] Dear Dr. Armstrong, I — I wonder your ears 
weren't burning — 

Putnam 

[Laughing nervously.] By Jove, yes — so do I! 

Tom 

Don't let me drive you away. 

Mrs. Frothingham 

Er — I must look after Mabel. I mustn't let the dear 
child dance too much! 



28 ROMANCE 

Putnam 

And I was on the point of offering Mrs. Rutherford some 
supper. 

Mrs. Rutherford 

How very kind! [To Susan.] Au revoir, my dear — 
good-night, Dr. Armstrong. 

Mrs. Frothingham 

Good-night — good-night. 

Putnam 

[Bowing.] Your servant. [The three go downstairs.] 

Susan 

[After them.] Don't go before Madame Cavalhni comes — 
she's promised to sing for us and you know what that 
means! Au revoir — au revoir! [Turning to Tom.] Cats! 
Two tabbies and one old tom! Did you hear what they 
were saying? 

Tom 

Just a little. [Loftily.] What does it matter? They^re 
not the people I care about — they're not the people that 
really count! 

Susan 

I know. But I just can't bear their criticizing you! 
[Looking at him.] Oh, Tom! You've got on your oldest 
clothes! Why couldn't you have stopped to dress? 

Tom 

Well, I was going to, honestly I was. But this is my 
night at the athletic club and about ten o'clock, just as 
I'd taken on the heavyweight of the ward, little Jimmy 



ACT I 29 

Baxter came running in and said young Sullivan was 
drunk and killing his wife so would I please step over? 
[Noticing her glance.] What are you looking at? 

Susan 
Your hair! 

Tom 

[Feeling it.] Is it sticking up behind? 

Susan 

Just one lock — on the left. [Coming up to him.] Bend 
over! [He does so and she smooths it down, as he goes on 
talking.] 

Tom 

[Going on all the time.] And I found Sullivan in a fighting 
mood and rather difl5cult to manage and in the middle of it 
all, if Mrs. Sullivan didn't go and have another baby! 

Susan 

[Trying to take out a spot from his lapel with her handker- 
chief.] How terrible! 

Tom 

That's what I told her. I said it was bad enough to have 
married Sullivan, but to bring a child of his into the world 
was almost worse than murder! 

Susan 

[Always busying herself with him.] But, Tom — she was 
longing for another baby! 

Tom 

I can't help that. However, now it's come, will you go 
round tomorrow and make a note of how she's doing? 



30 ROMANCE 

Susan 

[Turning him round and looking at him critically.] Of 
course. Does she need any baby clothes? 

Tom 
She had a few. Mrs. Baxter's given her the rest. 

Susan 

Very well — I'll take charge. [The orchestra is heard 
below.] 

A Man's Voice 
[Coming upstairs.] I say! 

Susan 

[Looking over the balustrade.] Oh, it's Mr. Livingstone! 
[Enter Fred Livingstone, a dandified young man of about 
thirty.] 

Fred 

[Who is carrying a plate in each hand.] There, Miss Van 
Tuyl ! You owe that dab of mayonnaise to no less a person 
than the Golden Nightingale! [To Tom.] Hello, Tom — 
how goes it? 

Susan 

Why, Mr. Livingstone? 

Fred 

It's a fact. I never would have got it if it hadn't been 
for her. Why, all the literary and artistic talent in New 
York was fighting like a band of demons round the supper- 
table, when, thank the Lord! the band struck up and 
someone said that Cavallini had arrived! 



ACT I 31 

Susan 
[Smiling.] I see! 

Fred 

Two seconds — and there wasn't a soul in the dining- 
room but me! Why, even the caterer's men were standing 
up on chairs to catch a glimpse of the divinity! 

Susan 
I really must go down and greet her. 

Tom 

If you see your uncle, Susan, tell him where I am. 

Susan 
Very well. [To Fred.] Mr. Livingstone? 

Fred 

Er — will you excuse me. Miss Van Tuyl? I want to 
have a word or two with Tom here. 

Susan 
Of course. Au revoir. [She goes downstairs.] 

Fred 

[Quivering.] Well! This is the last time I bring my wife 
to this house! 

Tom 
[Amazed.] What — ? 

Fred 

Of all the disgraceful insults that I've ever seen — ! 
Why, the man must be out of his head! 



32 ROMANCE 

Tom 

Who? 

Fred 
Van Tuyl. 

Tom 
What on earth's he done? 

Fred 

[Staring at him.] Done — ? Good Lord, man, don't you 
reahze who's downstairs? Don't you know who's making 
a tour 'of the rooms on his arm, as the guest of honor? 
Don't you know whom he's introducing to every respect- 
able woman that's been fool enough to come here to- 
night — 

Tom 

[Interrupting.] No, I don't — who? 

Fred 
[Impressively.] The CavalHni! 

Tom 

[Puzzled.] Oh, you mean that foreign opera singer? 
Well, what of it? 

Fred 

[Exploding.] What of it? By Jove, that's a cool one! 
I always knew you were advanced, Tom, but I'll swear I 
never thought you'd go as far as this! 

Tom 
What on earth — 

Fred 

[Interrupting.] It's bad enough to come and find the 



ACT I 33 

house all full of dirty painter chaps and female novelists! 
It's vile enough to see your wife rub elbows with those 
garlic-eating, gutter-born Italian Opera scoundrels — well, 
I won't talk about the others, they're old and fat and ugly, 
and I don't know anything against 'em — but Caval- 
lini — 

Tom 
Well? 

Fred 

I know Van Tuyl's our biggest banker and a leading 
citizen and a pillar of the church — that's all right, but 
when it comes to asking all New York to parties given for 
his mistress — 

Tom 
What — ? 

Fred 

It's true. She w his mistress! 

Tom 
[Controlling himself with difficulty.] Well? 

Fred 

I wouldn't have mentioned it if he hadn't brought her 
here tonight! I believe in letting a man's private affairs 
strictly alone, but gad! I expect him in return to show a 
little decency! 

Tom 
[Ominously.] I see. 

Fred 

And look here, Tom, so long as you're his rector and all 
that, I think you ought to speak to him about it — haul 
him over the coals and haul him jolly hard! 



34 ROMANCE 

Tom 

[Holding himself in.] And this is all you wanted to say 
to me? 

Fred 
Of course. 

Tom 
And you've quite finished? 

Fred 
I suppose so. 

Tom 

[Coming close to Mm.] Then / have one or two things to 
say to you. And I'll just begin by telling you what you 
are — and that's a miserable, sneaking, gossiping old 
woman — . 

Fred 

[Taken aback.] Wait — hold on! 

Tom 

[Continuing.] A pitiful, cackling, empty-headed fool who 
hears a dirty story and can't wait until he's passed it on! 
Why, you apology for the male sex, do you know what 
you're doing? You're a guest in a gentleman's house — 
you've eaten his food and shaken him by the hand and 
now you're turning round and circulating filthy vicious 
lies behind his back — 

Fred 

[Interrupting.] They're not lies ! He's lived with her for 
years — she has a villa on the Riviera that Van Tuyl gave 
her — it's called Millefleurs — Jack Morris saw them there 
together — 



ACT I 35 

Tom 

[Thundering.] Be still! 

Fred 

[Angrily, as he gets behind the sofa and talks over it.] I 
won't be still ! Why, all the fellows know what Rita Caval- 
lini is — except yourself and you're a clergyman. Ask 
Guwy Fisk — he knew the French musician chap that 
found her singing under hotel windows years ago in 
Venice. And Guwy knows just when she kicked him out 
and went oS with that Russian grand-duke and lived with 
him in Petersburg, until the Prince de Joinville set her up 
in Paris! Why, she's notorious all over Europe — she's 
ruined whole families — run through fortune after for- 
tune — it was outside her door that that yoimg EngKsh 
poet shot himself — the Emperor borrowed money from 
the Rothschilds just to buy her diamonds — the King of 
Naples gave her — , 

Tom 

[Breaking in.] Stop it, Livingstone! 

Fred 

[Going right on.] And as for Van Tuyl, well, everybody 
knows what he^s been like — 

Tom 
Look out! 

Fred 

Why, Louis the Fourteenth couldn't beat him when it 
comes to — 

Tom 

[Interrupting and making for him.] You little cur you — 



36 ROMANCE 

[Just here Van Tuyl comes up from downstairs. He is a man 
of about fifty, tall, deep-voiced and strong — a powerful per- 
sonality. His manner is gentle and full of a wise, quiet 
humor. He is dressed soberly, but beautifully and with great 
care.] 

Van Tuyl 
[Smiling.] Well, my young friends! What's the matter? 

Fred 

[Politely.] Oh, nothing! Tom and I were arguing^ — 
that's all. [He looks at his watch.] Good gracious — 
twelve o'clock! You haven't seen my wife, sir? 

Van Tuyl 

But you're not going? Why, Mme. Cavallini's going to 
sing! 

Fred 
Er — I'm afraid we must. [Offering his hand.] 

Van Tuyl 

[Taking it.] Oh, why? 

Fred 

[Simply.] I'd rather my wife heard Mme. Cavallini 
across the footlights — a touch of prejudice, I suppose — 
don't let it bother you — good-night! [He bows, smiles, 
and goes downstairs.] 

Tom 

[Simply and a little shyly.] I'd have come downstairs to 
find you, sir, but I'm not dressed — as you see — and I 
thought you mightn't like it. 



ACT I 37 

Van Tuyl 

[Heartily.] Nonsense, my boy! Why, you've no time to 
prink up for our foolish parties. I think you're very good 
to come at all. I don't remember if you're interested in 
terra-cottas, Tom, but if you are — [He is at the mantel, 
lifting one of the vases lovingly.] Here's something that 
came in last week. It's a lekythos of the time of Pericles. 
Look at the exquisite grace and freshness of those figures ! 
By Jove, they breathe a fragrance of eternal youth — and 
the hand that made them has been dust two thousand 
years! 

Tom 

[Hastily.] Er — very pretty — very pretty indeed. 
Van Tuyl 

[Looking at the vase.] Two thousand years — I wonder 
where we were then — eh, Tom? [He puts back the vase 
with a sigh.] But I think you care more for pictures than 
for terra-cottas, don't you? Come and look at the new 
Millet. It's in my room where I can see it every morning, 
just as soon as I wake up. By Jove, he's a wonderful 
fellow, that Millet — and some day he's bound to be 
recognized, even if — 

Tom 

[Firmly.] Thanks, sir, but if you don't mind I'd rather 
stay here. I want to — to talk to you. 

Van Tuyl 
[Genially.] Of course — just as you say. 

Tom 
[Awkwardly.] 1 don't quite know how to begin, sir, as 



38 ROMANCE 

it's a rather important — and at the same time a rather — 
a rather delicate matter, but — but — [Suddenly.] I'm not 
by any chance keeping you from your guests? 

Van Tuyl 

[Always smiling.] Not at all. 

Tom 

[Again awkward] But — it's — er — something that I 
really feel I ought to — er — I mean to say I — er — con- 
sider it in the light of — an obligation — to — er — to — 

Van Tuyl 
[Interrupting.] Tom. 

Tom 

Yes, sir? 

Van Tuyl 

[Putting his hand on Tom's arm.] It's — it's about 
Susan, isn't it? 

Tom 
Yes, but — 

Van Tuyl 

Then it's all right. My boy, I'm as glad as I can be! 
Tom 

[Puzzled] But what's all right? I'm afraid, sir, I don't 
follow you. 

Van Tuyl 

Why, aren't you asking me if — [He looks at him 
sharply.] 

Tom 

I'm sorry, sir, but it's advice I wish to offer you. 



ACT I 39 

Van Tuyl 
Advice — ? 

Tom 

Yes, I regret it, but it's my duty. 
Van Tuyl 

In that case, pray go on. [He sits.] Won't you sit down? 
[He lights a cigar.] 

Tom 

No, thanks. [Ingenuously.] Mr. Van Tuyl, I suppose 
some people would say that after all you'd done for St. 
Giles and me, it wasn't in my place to suggest anything — 

Van Tuyl 

Nonsense, Tom. Do you know you're getting to look 
more like your dear mother every day? 

Tom 

No, am I? [Resuming.] But after all, I am your Rector 
and I feel I've got to — to — 

Van Tuyl 

Quite right, my boy, I respect your feelings. Well? 

Tom 

[Struggling.] Have you ever thought — I mean — 
wouldn't it be better if — that is to say — do you think 
you're wise, Mr. Van Tuyl, in opening your doors to these 
foreign opera singers? [Going on quickly.] Oh, I know how 
broad-minded you are and how interested in art and music 
and all that sort of thing, and it's splendid! It's so splen- 
did, sir, that I couldn't bear to think anyone was imposing 
on yoiu- UberaHty. 



40 ROMANCE 

Van Tuyl 
[Calmly.] Whom do you mean? 

Tom 

This Madame Cavallini — isn't it? I know she's very- 
distinguished, and I quite understand your public spirit in 
recognizing her genius by making her the centre of one 
of your elegant entertainments. But after all, sir, are 
you quite sure she's the sort of lady — the kind of per- 
son — er — the type — [With a gesture.] — I say the 
type — 

Van Tuyl 
[Mildly.] It isn't Sunday, Tom. 

Tom 

[Paternally.] You know, sir, you're so generous and 
high-minded that anybody could take you in — oh, yes 
they could! [With a shake of the head.] And, personally 
speaking, I have always found that foreigners — particu- 
larly those belonging to the Latin races — have a distinct 
leaning towards immorality. 

Van Txjyl 
How old are you, Tom? 

Tom 

[Lamely.] Er — twenty-eight. 

Van Tuyl 

[With a wistful smile.] I wish / were twenty-eight. 
Life's a simple thing when you're twenty-eight. 



ACT I 41 

Tom 
[Loftily.] If one has standards — yes. 

Van Tuyl 
Standards? 

Tom 
Of right and wrong, I mean. 

Van Tuyl 
Oh, yes — I had those standards once. 

Tom 

[Shocked.] Once, sir? 

Van Tuyl 

[Confidentially.] And then one day I got 'em all mixed 
up — and the right seemed wrong and the wrong seemed 
right and I just didn't know where I was at. 

Tom 
Oh, come, sir! 

Van Tuyl 
That was a long time ago, my boy, but — [With a 
chuckle.] Well, I'm dashed if I ever got 'em straight again! 

Tom 

[Distressed.] Oh, sir, don't talk that way! 

Van Tuyl 

[Soberly.] I've learnt a few things, though — stray spars 
I've clung to in all this storm and ocean — just a few 
stray spars, but somehow they've managed to hold me up. 
One's how to value people that are good — that's why 



42 ROMANCE 

you're Rector of St. Giles, Tom — and another's how to 
pity people that are — 

Tom 
Bad. 

Van Tuyl 

No, not bad, my boy — there are no people that are 
bad. But there're some poor devils who find it harder to 
be good than you — that's all. 

Tom 

[Hesitatingly.] And Madame CavalHni? 

Van Tuyl 

If Madame Cavallini weren't fit to meet my friends, you 
never would have seen her here tonight. [Slight pause.] 

Tom 

[Impulsively.] Oh, what a fool I've been! I might have 
known there wasn't a word of truth in what that puppy 
said. 

Van Tuyl 
What puppy? 

Tom 

A young he-gossip, sir, who reeled off lies about this 
woman. And I was ass enough to believe him, and come 
to you and talk like a — like a — like a confounded prig! 
I wonder you don't throw me out of the house! 

Van Tuyl 
[With a twinkle.] You're my Rector, Tom. 



ACT I 43 

Tom 

Do you think you can forgive me, sir? [Just here the 
band downstairs begins a beguiling Strauss waltz.] 

Van Tuyl 

[Rising.] There's nothing to forgive, my boy. And now 
go down and ask Susan for some supper. 

Tom 

But I'm not dressed — : 

Van Tuyl 

Oh, nonsense! But if you'd rather go into the library, 
I'll tell her to bring it to you there. [Meanwhile, there is 
heard down the staircase the sound of men's voices, high and 
eager, and over and above them, a woman's laughter. This 
comes nearer and nearer.] 

Tom 

But I'm not — 

Van Tuyl 

[Clapping him on the shoulder] Don't tell me you're 
not hungry! You're twenty-eight years old, and when 
a young man's twenty-eight — hello ! who's this? [He 
turns and glances at back, as the sound of the voices and 
laughter grows nearer.] 

A Woman's Voice 

[Just of, rising above the others!] Go Vay — go 'vay — 
you mus' not come vit' me — no — no — you are naughty 
— you are de mos' 'orrible naughty men I ever see — 
[She sweeps up with the group of young dandies who have 
accompanied her and stands for a moment at the top of the 



44 ROMANCE 

stairway, laughing and talking, always facing in the direction 
whence she came, away from Tom and Van Tuyl. She is a 
bewitching, brilliant little foreign creature — beautiful in a 
dark, Italian way. She is marvellously dressed in volumi- 
nous gauze and her dress is trimmed with tiny roses. Her 
black hair hangs in curls on either side of her face and three 
long soft curls hang down her low-cut back. On her head is 
a wreath of little roses. She wears long diamond earrings, a 
riviere of diamonds is about her neck, diamonds gleam on her 
corsage, her wrists and hands. She carries a fan and bouquet 
in a silver filigree holder. She speaks in a soft Italian voice, 
with quick bird-like gestures. She seems herself a good deal 
like an exquisite, gleaming, little humming-bird.] 

One or the Young Men 
But it's my waltz! 

Another 

Don't listen to him, madame, you know you promised 
me to — 

A Third 

[Interrupting.] Nonsense, Willie — my name's on her 
card! 

The First 
It's no such thing! 

The Second 
I appeal to her! 

The Third 
Madame — 

Rita 

[Interrupting.] Oh — ! Vhy you make such a beeg, 
beeg noise? 



ACT I 45 

The First Young Man 

, [Frankly.] You're driving us crazy — can't you under- 
stand? 

Rita 

[Mock serious.] Vhat? Me — ? Poor, leetle me? You 
beeg bad boy, you make of me — 'ow you say? — vone 
seelly joke! 

The Chorus 

"We don't!" "It's true!" "Of course it is!" 

Rita 

[Laughing.] Go make de love to dose bee-eautiful Amer'- 
can ladies vit' de long nose an' de neck full of leetle 
bones — ! 

One of the Young Men 

But I want to make love to you! 

Another 
And so do I! 

A Third 
I do, too! 

The Others 
And I — and I! 

Rita 

Ouf ! You cannot all make de love to me — so look! I 
tell you — [They all gather nearer.] 

One of Them 
What? 

Another 
Tell us! 



46 ROMANCE 

Rita 

[Triumphantly.] You shall not any of you make de love 
to me! 

Chorus 

[Disappointed.] "Oh, madame!" "Please!" "You 
must!" etc. 

Rita 

No — no ! I stay 'ere vit' Meestaire Van Tuyl — 

Chorus 

"Oh, don't!" "What a shame!" "Please come down- 
stairs!" etc. 

Rita 

But leesten now! Vhich vone of you, 'e catch dis peenk 
camellia — look! — 'e drive me 'ome! [She holds up the 
flower.] 

The Men 

[Surging forward to snatch it.] "Give me it!" "Oh, 
madame!" "Get out the way!" "It's mine!" 

Rita 

[Laughing and tossing it over the balustrade.] It is all 
gone — so run — run qvick — qvick! Oh, 'e has fallen 
himself down — dat leetle meestaire! Povrino! [Ex- 
citedly, looking over balustrade.] Oh — ! Oh — ! You vill 
be 'urted — [Pointing.] Diot Guardi — guardi! [Clap- 
ping her hands and leaning over the balustrade.] All right — 
all right — you meestaire vit' de beeg moustache — Bene! 
— capita! You take me 'ome ! [She kisses her hand and 
turns away, still laughing.] Dey are so frightfully funny, 
dose — [She suddenly sees Tom, who has been standing 



ACT I 47 

quite still, staring at her all the time. She stops. The words 
die away from her lips. She looks at him. An instants 
pause.] 

Tom 

[Indistinctly, as he tears his gaze away from her.] I — I 
beg your pardon. [He passes her quickly, his head bent, and 
goes out. She turns and follows him with her eyes.] 

Rita 

[Very simply, still looking after him.] Please who is dat 
young man? 

Van Tuyl 

Tom Armstrong. He's a clergyman. 

Rita 
[Vaguely.] Cler-gee-man? 

Van Tuyl 
Abbe — priest, you know. 

Rita 
[Almost to herself.] Ah — ! Den it vas dat — 

Van Tuyl 
What? 

Rita 

[Turning away.] I dunno. Jus' somet'ing in 'is eyes — 

Van Tuyl 

I don't suppose he'd ever seen anything like you in all 
his life. 



48 ROMANCE 

Rita 

No? My Lord, 'ow ver' sad! [Glancing again down- 
stairs — this time with a certain impishness.] An' he vas 
'an'some, too! 

[Van Tuyl chuckles. She hears him, turns, catches his eye 
and they laugh together.] 

Van Tuyl 

[Coming up, still laughing, and taking her in his armsi\ 
You little monkey you! 

Rita 

[Softly, her eyes closed, a smile of triumph on her lips.) De 
beeg Amer'can, 'e like 'is leette frien' tonight — yes? 

Van Tuyl 
[Smiling.] I don't think he could help it if he tried. 

Rita 
Den if 'e like 'er — [She pauses.] 

Van Tuyl 
Well? 

Rita 

[Softly.] Please vhy don' 'e keess 'er? 

Van Tuyl 
[Laughing and kissing her.] There! 

Rita 

[Drawing herself away suddenly.] My Lord, I 'ave for- 
get somet'ing! 



ACT I 49 

Van Tuyl 
[Following her.] Come here! 

Rita 
I 'ave forget dat I am oh! mos' frightfully angry! 

Van Tuyl 
Not with me? 

Rita 
Si — sil 

Van Tuyl 

But why? What have I done? 

Rita 
[Briefly.] You know. 

Van Tuyl 
My dear, I don't! 

Rita 

[Sitting — right.] Ssh! You mus' not say t'ings like 
dat — dey are not true! You 'ave treat me ver' bad to- 
night — yes, you 'ave treat me qvite, qvite — on-spikable! 

Van Tuyl 

Why, I've invited you to my house! I've introduced 
you to my friends — the most distinguished people in 
New York! I've entertained you before all the world — 
and isn't that exactly what you wanted? 

Rita 

You ask me to your soiree — dat is true — but you ask 
me as artiste not a.s femmedu monde. 



50 ROMANCE 

Van Tuyl 
That isn't so! 

Rita 

[Like a flash.] Ah no? Den please vhy you ask de oder 
singers too? 

Van Tuyl 
Now, Rita, hsten — 

Rita 

I vill not leesten ! You t'ink I am a leetle — vhat you 
say? — donnacia — une pHite grisette — 

Van Tuyl 
My dear, you know I don't think anything of the sort — 

Rita 

An' it is not tonight alone — oh, no ! It is two — t'ree 
mont's — all de time since first I come to your mos' ver' 
diza-agree-a-ble country! \With a smile.] A-ah! It vas 
not like dis at Millefleurs! I vas not dere a singer from 
de opera ! At Millefleurs I vas a qveen! 

Van Tuyl 
Millefleurs — ! Our Palace of a Thousand Flowers. 

Rita 

{Caressingly.] Do you remember de night I sing to you 
de Schubert serenade — vhen you valk up an' down below 
de vindow — yes? All de roses in de vorld, dey blos- 
som in de moonlight. Dere vas no vind. De sea vas 
qvite, qvite steel — an' you valk up an' down — up an' 
down — an' alvays I sing to you — an' sing — an' sing — 



ACT I SI 

an' de vind an' de sea an' de beeg gol' moon — dey all of 
dem leesten to me! 

Van Tuyl 

[Rousing himself.] That was Millefleurs. The roses there 
had brought me back my youth. [With a sigh.] I came 
home, and I lost it, dear. I'll never find it again. 

Rita 
Ah, no — it vaits for you among de flowers! 

Van Tuyl 
I'm afraid — not any more. 

Rita 
Vhat you mean, please? 

Van Tuyl 

I'm fifty-one years old. [She instinctively draws away 
from him a little.] That frightens you? 

Rita 
Ah, no, but — 

Van Tuyl 

[Gently.] Don't deny it, dear — I know how — you 
must feel. [Pause.] Rita. 

Rita 
Veil? 

Van Tuyl 

Rita, suppose we finish our — our friendship — end it 
here tonight. 

Rita 
Tonight — ? 



52 ROMANCE 

Van Tuyl 

Give me your hand. There! Now we can talk! — I'm 
fond of you, dear — I always shall be that — but already 
I'm beginning to disappoint you. And I'm afraid I'll do 
it more and more as time goes on. [Slight pause.] Look 
at my hair! There wasn't any grey in it last year — at 
Millefleurs! But now — and next year there'll be more! 
And I've begun to be a little deaf and fall asleep in chairs 
and dream about tomorrow's dinner. My rheumatism, 
too, came back last week — [She winces and draws away 
her hand.] Don't blame me, dear — I can't help getting old. 

Rita 
[Nervously.] Don' — don' talk dat vay! 

Van Tuyl 

[Quickly.] God knows I'm not complaining! I've lived 
my life — and it's been very sweet. I've done some work, 
and done it pretty well, and then I've found time to enjoy 
a great many of the beautiful things that fill this beautiful 
world. [Politely.] Among them, my dear, I count your 
voice — and you! [Resuming.] And yet the fact remains 
I've lived my life, I'm in the twilight years — oh! they're 
golden yet, but that won't last, and they'll grow deep and 
dim until the last tinge of the sunset's gone and the stars 
are out and night comes — and it's time to sleep. [With a 
change of tone.] But you — Good Lord, your life has just 
begun! Why, the dew's still on the grass — it's sparkUng 
brighter than your brightest diamonds! [He touches the 
ornaments.] The birds are singing madrigals, the meadow's 
burst into a sea of flowers — you wear the morning like a 
wreath upon your hair — don't lose all that, my dear, — 



ACT I 53 

don't waste your springtime on a stupid fellow, fifty-one 
years old! [Pause.] 

Rita 
[Coldly.] All right. [She turns away, whistling.] 

Van Tuyl 
[Watching.] What's the matter? 

Rita 
[Casually.] Oh, nodings. 

Van Tuyl 
Yes, there is. 

Rita 

Vone more — 'ow you say? — frien'ship feenished — ! 
[In a hard voice.] Vone more — ! [With a careless gesture.] 
Oh, che mHmporta — ce ne sono altri! [She yawns osten- 
tatiously and sniffs her bouquet.] 

Van Tuyl 
[Looking at her keenly.] Rita? 
Rita 
Veil — Meestaire Van Tuyl? 

Van Tuyl 
[Simply.] Haven't you ever loved someone? 

Rita 
'Ow you talk? 'Ave I not love you two — t'ree year? 

Van Tuyl 
[Always very gently] I don't mean that. Isn't there 



54 ROMANCE 

someone whose memory is dear and — and sort of holy — 
like an altar-candle, burning in your heart? 

Rita 
[In a hard voice.] No. 

Van Tuyl 

Think back — way back. Didn't someone ever make 
you feel so tender that you didn't know whether to laugh 
or cry at the thought of him? Wasn't there ever someone 
you wanted to help so much that it — it hurt you, like 
living pain? Wasn't there someone that your heart and 
soul just rushed out to meet — and all the time you stood 
before him and looked down and — and couldn't say one 
single little word? Wasn't there someone who — 

Rita 

[Rising suddenly.] Basta! Basta — ! Stop it — don' — 
don' — [A little pause. She recovers herself.] 'Ave you 
felt — Hke dat? 

Van Tuyl 
[Nodding.] Yes. 

Rita . 
Who vas she? 

Van Tuyl 

[Simply.] Just a girl. Not wonderful or beautiful or 
gifted — and yet — well, somehow she meant the world 
to me. 

Rita 
Vhat 'appen? 

Van Tuyl 
She died before I ever told her that I loved her. [Pause.] 



ACT I 55 

Rita 

[Not looking at him.] It vas a good t'ing — dat she die 
so soon. 

Van Tuyl 
What? 

Rita 

Sometime I vish dat / 'ad died before I ever 'ear dose 
vords — "I love you." 

Van Tuyl 

What do you mean? 

Rita 

[Ironically.] I never tol' you of my first so bee-eautiful 
romance? No — ? Veil, I do not often t'ink of it — it 
make me feel — [With a curious little shiver.] — not nize. 
[Pause.] It vas in Venice. I vas jus' seexteen years ol'. 
I play de guitar wid de serenata — you know, de leetle 
company of peoples dat go about an' sing under de vin- 
dows of de great 'otels — \With a sigh.] Ah Madonna! 
come sembra lontano! 

Van Tuyl 
Well? 

Rita 

[Not looking at him.] A young man come join our sere- 
nata — Beppo, 'is name vas — Beppo Aquilone. 'E vas 
'an'some an' 'e 'ad nize voice — oh, ver' light, you know, 
but steel — simpatica. Ve stan' together vhen ve sing 
an' 'ave — I dunno — vone, two duet. An' so it go 
for two — t'ree veek an' 'e say noding much, but every 
time 'e smile an' look at me my 'eart is full vit' great beeg 
vishes an' I feel like everyt'ing in all de vorld is new an' 



$6 ROMANCE 

born again. An' so vone evening 'e come vit' me to. my 
leetle room — an' den 'e tell me dat 'e love me — an' all 
night long 'e 'old me close an' keess me — an' I feel 'is 'ot 
breat' like a fire upon my face — an' de beating of 'is 
'eart, it come like strong blows 'ere against my own. 
An' den 'e sleep. But I — I do not sleep. I lie still an' 
qviet an' in my mind I have vone t'ought — "Is dis vhat 
people mean vhen dey say — Love?" An' so de 'ours go 
by, an' de night is feenish, an' a — a — 'ow you say? — a 
long, t'in piece of sunlight, it creep in my leetle vindow an' 
it shine on Beppo vhere 'e lie beside me. An' oh! 'e look so 
young ! — an' den de sunlight — 'ow you say? — it tease 
him, so 'e 'alf vake up, an' 'e vink 'is eyes an' say, "Ah, 
Rita, ti amo!" An' den 'e sigh an' put 'is 'ead 'ere — on 
my shoulder — like a leetle baby dat is tired, an' go to 
sleep again. [With passionate tenderness.] An' oh! I put 
my arm about 'im an' I smile an' t'ink " For Love I vaited 
all night long, an' vit' de day — it come/" 

Van Tuyl 

And so it does, my dear. 

Rita 

[In a different voice.] You t'ink so? Vait — ! [She has 
turned away.] In tvelve 'our — tvelve 'our! — 'e sell me to. 
an English traveller for feefty lire. At first, I t'ink I die — 
I soffer so ! An' den at las' I on'erstan' — an' laugh — an' 
know dat I 'ave been vone great beeg fool — 

Van Tuyl 
[Protesting.] My dear, I — 

Rita 
[Shaking her clenched hands.] A fool to t'ink dere vas 



ACT I 57 

some greater, better love — a love dat come at morning 
an' shine like sunshine — [With a wide gesture.] — yes, all 
t'rough de day! 

Van Tuyl 
There is. 

Rita 

[Fiercely.] Dat is vone lie! You 'ear — ? vone lie! 
[Voluptuously.] Love — it is made of keesses in de dark, 
of 'ot breat' on de face an' 'eart beats jus' like terrible 
strong blows! It is a struggle — ver' cruel an' sveet — 
all full of madness an' of vhispered vords an' leetle laughs 
dat turn into a sighi Love is de 'unger for anoder's 
flesh — a deep down t'irst to dreenk anoder's blood — 
Love is a beast dat feed all t'rough de night an' vhen de 
morning come — Love dies! [Slight pause.] 

Van Tuyl 
My dear, I think you must have suffered a great deal. 

Rita 

Yes — because I 'ave believe vonce in a lie, but — 
[Shaking her finger.] — not any more ! [With a grimace.] Oh, 
vhy ve talk about dose bad ol' t'ings? — see 'ere — I blow 
dem far avay! Pst — ! Pouf — ! [With an enchanting 
smile.] Now look! Dey are all gone! [As he does not an- 
swer, but looks at her.] Veil? Vhat you t'ink about so 
'ard — yes? 

Van Tuyl 

Why don't you marry someone, Rita? 

Rita 
Marry — me — ? 



58 ROMANCE 

Van Tuyl 
Well, why not? 

Rita 
Vhere vould I fin' a man to make of me 'is vife? 

Van Tuyl 
[Protesting.] Nonsense, dear, why — 

Rita 

[Interrupting.] My frien', you 'ave forget a leetle — 
vhat I am. [Brief pause.] 

Van Tuyl 
I'm sorry, dear. 

Rita 

[Quickly.] Sorry — ? Bah! Do you t'ink I care? I — 
who 'ave 'ad de great men of de vorld among my lovers? 
Ah, no, my frien', I 'ave not come to dat! 

Van Tuyl 
I understand. 

Rita 

[Turning and looking at him.] De great men of de vorld! 
An' you are vone of dem — oh, yes, I know it vhen I see 
you first at dat beeg supper Rossini give for me. An' I ask 
'im — I say "Maestro, who is dat man who seet next de 
Russian princess?" An' 'e laugh an' say, "Vhat? Not 
already you make up your min'?" an' den I see you look 
at me — 

Van Tuyl 

Of course! 



ACT I 59 

Rita 
An' I smile — oh, mos' sveet! 

Van Tuyl 
[Rising.] You little rascal you! 

Rita 

An' so — ve 'ave begin. [She considers hint.] Come 'ere! 
[He comes close to her. She takes him by the lapel and looks 
up at him.] You know vhat I t'ink — yes? 

Van Tuyl 
[Smiling.] I never know. 

Rita 
I t'ink — ve 'ave not come qvite to de en'. 

Van Tuyl 
My dear, you make me very happy. 

Rita 
So you vill drive vit' me tomorrow afternoon at four? 

Van Tuyl 
I'm honored. 

Rita 

I tell you somet'ing — 

Van Tuyl 
Well? 

Rita 
You are naughty — but I Hke you frightfully much! 



6o ROMANCE 

Van Tuyl 

[Kissing her hand.] Madame, I'm more than grateful. 
[The orchestra begins a waltz downstairs.] Good Heavens, 
I've forgotten I'm a host! What will those wretched 
people think! My arm — ? [He ofers it to her.] 

Rita 

[Like an unwilling child.] Vhen mus' I sing? 

Van Tuyl 

Let's see. I've asked Artot and Capoul for the duet from 
Traviata — and then I want the sextette from Lucia — 
and after that we'll all be ready for the Golden Nightin- 
gale! 

Rita 

[Lying on the sofa.] De Golden Nightingale vill rest 
alone 'ere till de time is come. An' oh! sen' someone vit' 
'er red vine an' 'er lemon- juice! She is so tired — she can- 
not sing vit'out! 

Van Tuyl 



That's all? 
Dat's all. 



Rita 



Van Tuyl 

You're beautifid tonight. 

Rita 

[Lying back and looking up at him.] Vhy not? My star is 
Venus — I vas born for love! 

Van Tuyl 

[Tenderly.] "O love forever in thy glory go!" 

[The sound of the waltz is heard full of insistent rhythm. 



ACT I 6i 

With a sigh, she flings her arms above her head, stretches her 
body, and closes her eyes. Then, with a burst of chatter and 
laughter, three young couples rush up the stairs.] 

The First Young Man 
[To his partner.] Come on! 

The Girl 
Oh, what fun! We'll have it all to ourselves! 

The First Young Man 
Quick ! Before the others see us — [They begin to dance.] 

Another Girl 
I'm dying to learn the Boston Dip! 

Her Partner 

It's perfectly easy — [Dancing.] One — two — downl 
One — two — down! 

Van Tuyl 

[Turning from the couch.] Ssh! Madame Cavallini's try- 
ing to rest a little before she sings I [He smiles at the young 
people and puts his finger to his lips.] 

One or the Girls 
Oh, of course, sir. 

Another Girl 

We never noticed. 

[Van Tuyl goes downstairs.] 



62 ROMANCE 

The Third Girl 

[Whispering.] She's asleep! [They all gaze towards the 
couch.] 

One of the Young Men 

[Rapturously.] I say! Isn't she a vision! 

His Partner 

Ssh! You'll wake her up! 

The Second Young Man 
Let's go down to the conservatory. 

The Third Young Man 

Tip-toe, you girls ! 

[They begin to descend again.] 

Tom 

[Entering from the library.] Mr. Van Tuyl, I — [He stops 
on seeing the departing young people.] Oh, it's you, my 
young friends! 

One or the Girls 

[Whispering to him over her shoulder as she disappears.] 
Mr. Van Tuyl's just gone downstairs. 

Tom 

[About to follow her.] Thank you. 
Rita 

[Suddenly opening her eyes and speaking from her couch.] 
You are going? 

TOM 

[Turning.] I beg your pardon? 



ACT I 63 

Rita 
[Smiling.] Don' go — please — 

Tom 
[Stuttering.] But I — I — I — 

Rita 

I vas jus' begun to be a leetle — 'ow you say? — lonely? 
An' now a nize young man come — oh! my Lord, I am so 

glad! [She smiles at him bewitchingly.] 

Tom 

You're sure I'm not — intruding? 

Rita 

But no! Come in an' — 'ow you say? — oh yes! 
make yourself qvite to 'ome! 

Tom 
Er — thank you. [He sits down on other side of room.] 

Rita 
Vhy you sit vay, vay over dere? 

Tom 
Why — er — er — I don't know — I — 

Rita 

[Sweetly.] Are you afraid of me? [As one would talk to a 
young and timid haby.] I vill not 'urt you — no, I like de 
young men! Please come! Sit 'ere! [She indicates a chair 
at foot of couch.] 



64 ROMANCE 

Tom 

You're — very kind. [He comes over and sits down.] 

Rita 

[Lying back with a sigh.] A-ah! [She smiles at him. A 
pause. Then, curiously.] Vhat make your face so red? 

Tom 
[In consternation.] My face — 

Rita 

[Dreamily.] It is de reddes' t'ing I ever see in all my 
life! 

Tom 

[Agonized.] It's rather — warm in here. 

Rita 
You t'ink so? / am qvite, qvite col'. 

Tom 

That's — very odd. [Pause.] I'm afraid I — I haven't 
had the honor of being — presented — er — my name's 
Armstrong. 

Rita 

Ar-rm-str-rong! But dat is not all — eh? Now vait — 
no — yes — eccol I 'ave it — TeemI 

Tom 
[Slightly nettled.] No, not Tim. That's Irish. Tom. 

Rita 
Tome! 



ACT I 6s 

Tom 

Not Tome. Tom! 

Rita 

Tom — ! Dat right — ? [Repeating it to herself.] 
Tom — Tom! [Laughing.] My Lord — vhat a funny 
name! 

Tom 

It's not a real name. It's just short for Thomas. 

Rita 

[Illuminated.] Ah — Tomasso! Si — si! Now I on'er- 
stan' ! I vonce 'ave a frien' name' Tomasso — oh, yes, 
ver' long ago ! 'E 'ave jus' vone leg. 'E vas — 'ow you 
say? — rag-picker! 

Tom 
Was he? 

Rita 
[Critically.] You look mos' ver' much like 'iml 

Tom 
[Pulling uncomfortably at his coat.] Do I? 

Rita 

\With a sudden happy thought.] Mebbe you are fine, beeg, 
Amer'can rag-picker — no? 

Tom 
[Severely.] Madam, I am the Rector of St. Giles' Church! 

Rita 
R-r-rector? 



66 ROMANCE 

Tom 

Yes — I mean I — I own it — I'm its minister — its 
clergyman — 

Rita 

[Quickly.] Oh, cler-gee-man! I 'ave forget! 'Ow bee- 
eautiful! An' Saint Gile' — who vas 'e? Some leetle 
Amer'can saint — hein? 

Tom 

[Sternly^ St. Giles is one of the most important figures 
in the great history of the Church of England! 

Rita 

[Softly.] Is dat so? Anodder cler-gee-man — yes? [He 
nods] 'Ow frightfully nize! Ve never 'ear of 'im in Italy. 

Tom 
[Struck.] In Italy — 1 Why, you don't live in Italy. 

Rita 

I 'ave a house in Florence an' a villa on de Lago di 
Como — yes. 

Tom 

\With a relieved laugh.] Oh, that's all right, then. Do 
you know what I thought for just a moment? 

Rita 

No. Vhat you t'ink? 

Tom 

I thought that you were one of these ItaHan opera 
singers! 



ACT I 67 

Rita 
[Laughing.] You funny man! 

Tom 
Forgive me — do ! 

Rita 
Itvillbe'ard! 

Tom 

You see, there're lots of them downstairs, — but then, 
I ought to have known, because Fred Livingstone said 
they were all old and fat and ugly. 

Rita 

[Dampened.] Oh — ! Did 'e? 

Tom 

With one exception — Madame Cavarini — or lini — 
or whatever her name is. You know. 

Rita 

[Smiling.] Yes — I know. An' you — vhat you t'ink? 
You fin' 'er bee-eautiful? 

Tom 
I — ? Oh, / haven't seen her. I don't go to the opera. 

Rita 

[Confidentially.] You 'ave not miss much vhen you miss 
La Cavallini. She is of a fatness — [With a gesture.] Oh, 
hkedat! 

Tom 

You're sure? 



68 ROMANCE 

Rita 
[Nodding.] She eat tvelve poun' of spaghetti every day I 

Tom 
No! 

Rita 

[Enthusiastically.] An' ugly — oh, Madonna! — 'ow dat 
vomans is ugly ! Jus' to look at 'er give vone de nose-bleed ! 

Tom 

But everybody says — 

Rita 

[Interrupting.] Leesten! Vone eye is made of glass — 
an' 'er nose — my Lord, 'er nose! 

Tom 
What's the matter with her nose? 

Rita 

[Covering her face with her hands.] She 'as not got 
vone — !! 

Tom 

But surely you're mistaken — why — 

Rita 

[Shuddering.] Jus' papier-mache — stuck to 'er face! 
Die! 

Tom 

Well, I suppose her figure is what makes them say — 



ACT I 69 

Rita 

[Interrupting.] I tell you somet'ing terrible/ She 'as a 
'ump! 

Tom 
A what? 

Rita 

[With horrid emphasis.] A 'ump — a 'ump upon 'er back! 

Tom 
You mean a hump? 

Rita 

[Nodding.] 'Er dressmaker in Paris — she tell me dat. 
Now vhat you t'ink — eh? 

Tom 
[Rising.] Do you really want to know? 

Rita 

Yes — tell me, please! 

Tom 

{Very sternly.] I think, madam, you have been guilty of 
the grossest cruelty! 

Rita 
Vhat — ? 

Tom 

[Oracularly] Yes — cfMeZ/y, I repeat the word! To hear 
a woman, on whom an all- wise Providence has showered 
its choicest gifts of health and wealth and beauty — I say 
to hear a woman like yourself deride, hold up to scorn and 



70 ROMANCE 

gloat over the physical failings of a less fortunate sister — 
for, madam, you are sisters in the sight of God! — I say 
this heartless act deserves a far more serious rebuke than 
any I'm at — at liberty to offer. 

Rita 

[Suddenly covering her face with her pocket handkerchief 
and gasping.] Ah — don' — don' — 

Tom 

What if this unhappy lady does suffer from — exag- 
gerated fleshiness? Beneath that bulk may beat the ten- 
derest of female hearts! What if her face is repulsive even 
to the degree that you mention? The purest thoughts 
may animate the brain behind! What if one eye is glass? 
The other, doubtless, is the window of a noble soul ! And 
even though she bears a hump upon her back, she may, 
with Christian patience, change it to a — [Suddenly in- 
spired.] — a cross! 

Rita 

[Her voice still covered, shaking.] Don' — don' — ! Dio 
mio — ! I cannot bear it — 

Tom 

[Professionally ] I am glad my few, poor simple words 
have touched you. Never forget them — let them be with 
you always — and, should the temptation come again, 
remember that a soft, sweet tongue is Woman's Brightest 
Ornament ! 

Rita 

[Unable to control herself] Tschk — ! Tschk — ! 
Tschk — ! [She presses the handkerchief over her mouth.] 



ACT I 71 

Tom 

[Suddenly, taking a step toward her.] Madam — ! 

Rita 

[Dropping the handkerchief and screaming with laughter.] 
I cannot 'elp it — oh — ! oh — \ oh — ! 

Tom 

[Grinding his teeth and striking one palm against the other 
as he turns away.] Madam — ! You — a-ah! 

Rita 

[Exhausted, gasping.] Oh — ! oh — ! [Wiping her eyes.] 
My Lord — ! 

[A servant comes from downstairs carrying a tray with 
glasses, a carafe, and a decanter of wine.] 

The Servant 
The wine, madam. 

Rita 

P-put it 'ere — on dis leetle table. [She indicates the 
little table by the head of the couch. The servant places the 
tray upon it.] 

The Servant 
Is that all you will require, madam? 

Rita 

Yes — dat is all. [The servant goes downstairs^ 

Tom 
[Stiffly] Good-night. 



72 








ROMANCE 
Rita 


You 


are 


not 


going? 





Tom 

After what has occurred, I see no reason for stajdng. 

Rita 

[Carelessly.] All right. [She half-rises and occupies her- 
self with an elaborate mixing of the wine and lemon-juice and 
water.] 

Tom 

[Lingering.] Aren't you sorry for making fun of me? 

Rita 
[Always intent on the drink.] Oh — so frightfully sorry! 

Tom 

[Doubtfully.] You don't look it. 

Rita 

[As before.] Is dat so? Good-bye. 
[Tom walks to stairs, pauses, hesitates — then slowly 
comes back and sits down in his old chair.] 

Tom 
Madam — 

Rita 

[Turning to glance at him.] Oh! I t'ought you go! 

Tom 

[With dignity.] So long as you're sincerely sorry — so 
long as you truly repent — [He pauses expectantly, awaiting 
her corroboration. But she whistles gaily and pays no atten- 



ACT I 73 

Hon to him. He finishes somewhat lamely:] I don't suppose 
there's any need of my going. 

Rita 
[Lightly.] No? My Lord, I am dead vit' Joy! 

Tom 

[Sternly.] Madam — 

Rita 

[Gaily, as she pours the drink from one glass to another.] 
Look — ! See 'ow bee-eautiful I do it — ! [Her voice 
softening.] Somevone who vas vonce ver' fon' of me, 'e 
teach me dis! \He stares, hypnotized. She finishes and fills 
both glasses.] Dere! [She holds one out to him.] Dat is for 
you! 

Tom 

[Rousing himself.] Thanks. I — I don't take stimulants. 

Rita 

[Very softly.] Not even vhen I give dem — ? [^ pause. 
She holds out the glass and smiles. At last he takes it.] Ah, 
dat is right! [She lifts her own glass.] Now vhat ve dreenk 
to — eh? [Suddenly \ Ecco! Dat nice ol' cler-gee-man — 
Saint Gile'! You don't like dat — no? [She pauses and 
considers, gazing at him. At last, in a slow, mysterious whis- 
per:] Den 'ow you like it if / dreenk to vhat I see in your 
eyes — an' you dreenk to vhat you see in mine — ? [A 
pause. She stares at him steadily with a mysterious smile. 
He cannot take his eyes away. Together they slowly lift their 
glasses to their lips and drink, their gaze never faltering. 
From downstairs can be heard very faintly the voices of the 



74 ROMANCE 

other singers, singing the sextette from ^^ Lucia" with the 
orchestra accompaniment.] 

Tom 

[Oddly.] Who are you? Tell me — I — don't under- 
stand — 

Rita 

{Slowly and mysteriously.] I am a cup all full of sacred 
vine! I stan' upon an altar built of goF an' pearls an' paid 
for vit' de blood an' tears of men! De steam of perfume 
dat fills all de air, it is de t'oughts of me in poets' 'earts — 
de vhite flowers lying at my feet, dey are de young boys' 
bee-eautif ul deep dreams ! My doors are open vide to all 
de vorld! I shine in dis great darkness like a living star, 
an' somevhere — sometime every man 'as 'eard my 
voice — "Come, all you t'irsty vones — come, dere is 
vine for all!" [Pause.] 



What's your name? 
Ah, vhy you ask? 



Tom 
Rita 

Tom 



[Always looking at her.] Because I want to see you again 
— and again — I want to ask you a million things I never 
dreamed about until tonight — [His voice rising.] I want 
to know you right down to the very bottom of your soul — 
I want to — 



be. 



Rita 
[Interrupting.] Ah, poor yoimg man — all dat can never 



ACT I 75 

Tom 

It will — 

Rita 

No — no! 

Tom 

[Rising.] It must — it's got to be! 
Rita 

[Gently.] Ssh — ! Don' make a noise! [Impulsively.] 
Come 'ere ! [He comes up to the side of couch.] Kneel down — 
[As he does so.] Dere — like dat! Close — close so ve can 
talk. [Picking up her bouquet.] You see my violets 'ere — 
so sveet an' fresh an' bee-eautiful? You see dem? Veil, 
'ow long you t'ink dey las'? 

Tom 
A long time, if you treat them well. 

Rita 

Now look — ! [She pulls the flowers in handfuls from the 
bouquet.] 1 press dem on my face an' neck — I feel dere 
freshness on my eyes an' 'air — I dreenk dere sveetness 
like I dreenk new vine — 

Tom 

[Warningly.] You're crushing them! 

Rita 

Vhat does it matter? I have keess dem — an' dey vera 
born to die! [Taking up two great handfuls and covering his 
face with them.] Dere — ! Take long breat's of dere 
fragrance ! Let dem cool your lips an' fall like vhite snow 
on your face ! Don' t'ink sad t'oughts of vhat mus' be — 



76 ROMANCE 

jus' laugh an' love dem — dat is all dey need ! [Giving him 
more.] Take dese — an' dese — take more — oh, take dem 
all — ! [She throws a last handful into the air. The flowers 
fall all about them.] Dere — ! [Showing the bouquet holder.] 
It is empty. Not vone is left to take 'ome vhen I go. You 
on'erstan'? 

Tom 

I don't know — 

Rita 

[Tenderly.] Our meeting 'ere tonight — vhat is it but a 
bunch of violets? Of flowers dat ve smell an' love an' 
t'row into de air? Vhy should ve take dem 'ome vit' us 
an' vatch dem die? I t'ink it is oh! much more vise to 
leave dem 'ere — like lee tie memories — all sveet an' 
vhite an' scattered on de groun'. 

Tom 
Couldn't I keep — just one or two? 

Rita 

[Smiling.] Dey vere not meant for keeping. Dere whole 
life vas tonight! 

Tom 

[Simply.] I know — but I'd like to try. [A little pause. 
She looks at him and shakes her head.] 

Rita 

Ah, you are so young! [She picks up a few flowers from 
where they have fallen and puts them in his buttonhole as he 
kneels beside her.] Dere! [Then, with her fingers still at his 
buttonhole.] I vish — [She hesitates.] 



ACT I 77 

Tom 

What do you wish? 

Rita 

[Very simply, almost like a child.] I vish I knew some 
flowers dat vould never die. [There is an instants pause, 
then, quite suddenly, he seizes her hands and kisses them again 
and again.] 

Rita 

[Trying to rise.] No — stop — vhat you do — ? [She 
manages to tear herself away from him just as Van Tuyl ap- 
pears on the stairs. He pauses at the top and looks at them. 
A brief pause.] 

Rita 

[With complete self-command.] Ah, 'ow nize you are to 
come! 

Van Tuyl 
[Politely.] You're ready, madame? 
Rita 

Qvite, qvite ready. [To Tom.] T'ank you, m'sieur, for 
your kin' politeness. Good-bye. [She bows to him and 
picks up her scarf, gloves, and fan, preparatory to departure.] 

Tom 

[Hoarsely.] But I want to see you again. 

Rita 

You are — sure? 

Tom 
[Gulping.] Yes — 



78 ROMANCE 

Rita 

Qvite sure? 

Tom 
[As before.] Yes — 

Rita 

[Very "femme du monde'".] Den vould you come to my 
'otel tomorrow afternoon at four? It is de Brevoort 
'Ouse — [Pointing.] Jus' over dere, you know. 

Tom 

[With difficulty.] All right — 
Rita 

[Smiling.] An' I vill take you for a leetle drive upon your 
bee-eautiful Fift' Avenue! 

Van Tuyl 

[Always very polite.] And our engagement, madame — 
what becomes of that? 

Rita 
Our leetle engagement is — is — 'ow you say? 

Van Tuyl 
Postponed? 

Rita 

[Finishing.] In-definite-lee. [Van Tuyl bows. She moves 
towards the stairs.] 

Tom 

[Who has never taken his eyes from her now steps forward 
as he sees her leaving.] Wait — ! I'm awfully sorry, but 
I — you know you haven't told me what your name 
is — 



ACT I 79 

Rita 

Oh, of course — I 'ave forget — so stupid ! Vill you tell 
'im — Meestaire Van Tuyl? [She gives them each the most 
correct of smiles and hows, unconsciously dropping her hand- 
kerchief as she does so, then goes downstairs. As she goes, 
there is a murmur swelling up into loud applause which comes 
from below. She is smiling and kissing her hand to this un- 
seen crowd as she disappears. 

A pause. Van Tuyl lights a cigar. Tom, staring after 
her, comes slowly to the top of the stairs, sees the handkerchief 
and picks it up. He is fingering it aimlessly when he sees the 
initials at one corner. He looks at them more carefully — 
and then turns dumbly to Van Tuyl. The orchestra begins 
below.] 

Van Tuyl 

[Gently.] Do you mean to say you really didn't know 
who she was? 

Tom 

[Shaking his head and speaking almost inarticulately.] 
No — I hadn't the least idea — 

A Woman's Voice 
[Singing below.] "Non conosci il bel suol 

Che di porpora ha il, del? 
II bel suol il de' rai 
Son pitl tersi i colori? 
" Ove Vaura e pitl dolce 
Piu lieve Vaugel 



[Tom walks slowly to the balustrade and stands there, look- 
ing down at the singer in the room below. Van Tuyl watches 
him rather sadly as 

THE CURTAIN FALLS 



ROMANCE 
ACT II 



ACT II 

Scene: New Yearns afternoon. The study of St. Giles Rec- 
tory, a charmingly old-fashioned, spacious New York 
house, looking out upon a quiet street. The study is a 
square room. At the left are two windows, with heavy, 
rather faded curtains. In them hang holly wreaths, tied 
with scarlet bows. At the back is the double-doorway lead- 
ing into the hall. A t one side of it hangs the bell-rope. Over 
it is a long oar, and, above this, a mounted stages head. At 
the right is the white marble mantel and fireplace, in which 
a fire is burning. On the mantel are several silver cups, 
medals in their open cases, little old-fashioned photographs 
of young men, a big old clock, and two handsome candela- 
bra. Over the mantel is a large steel engraving of Del 
Sarto's St. John. Near the fireplace is a rack containing 
rods and guns. A pair of boxing-gloves hangs here, too. 
There are bookcases at the back, filled with sober, pious, 
dusty volumes. On top these bookcases are a few more en- 
gravings of old Masters — a Last Supper, etc. In one 
corner stands an old-fashioned cabinet, with glass-covered 
shelves and drawers below. 

In front of the windows is a very large, heavy table-desk; on 
it are a lamp, a water-pitcher and glass, desk-fittings, sev- 
eral books, a daguerreotype in a velvet case, a large, well- 
used Bible, a smaller Testament, etc. A big leather chair 
faces this desk. There are one or two other chairs near it. 
Across the room and placed so that the keyboard is not seen, 
is a small, but exquisite old-fashioned square piano. There 
are candles on each side of the keyboard and several rather 
worn volumes of bound music, neatly ranged. Near the 

83 



84 ROMANCE 

fireplace is a hair-cloth settee. All the furniture is old- 
fashioned black walnut, upholstered in black. An old- 
fashioned red carpet covers the floor. 

The sunlight of a cold winter's afternoon comes through the 
windows. Outdoors the glitter of snow is seen. As the act 
goes on the sunlight changes to the ruddy glow of a winter's 
sunset, and then the twilight fills the room with shadows. 

As the curtain rises Miss Armstrong, wearing a little black 
silk apron, is discovered arranging some roses in a bowl 
on the desk. The clock on the mantel strikes four. 

{The door opens and Giles, the old butler, appears.] 

Giles 

Miss Van Tuyl. [Susan enters, dressed in bonnet and 
mantle.] 

Susan 

{Coming in.] Tom, I — {Seeing Miss Armstrong.] Oh, 
Happy New Year, Miss Armstrong! 

Miss Armstrong 

Don't be premature, my dear — it's only New Year's 
Eve. [Kissing her.] What nice cold cheeks you have! 

Susan 

[Laughing.] I ought to — I've been walking. Tom asked 
me to come in at four, and hear about the final arrange- 
ments for tonight. 

Miss Armstrong 
Tonight — ? 

Susan 

Yes. The midnight New Year's service for the lost and 
friendless. 



ACT II 8s 

Miss Armstrong 
Oh, that! 

Susan 

[Enthusiastically.] We're going to have a brass band and 
torches and sing hymns and parade the streets for half an 
hour beforehand — oh, it'll be wonderful! Is Tom up- 
stairs? 

Miss Armstrong 

[Nervously] No. He went out after luncheon — er — 
to pay a call. 

Susan 
[Meaningly.] At the Brevoort House? 

Miss Armstrong 

[Flustered.] Oh, I'm sure he'll be here if you wait a 
moment! He has a Deaconesses' Meeting at a quarter to 
five and I know he never would miss that! 

Susan 

Wouldn't he? Well, we'll see — [Noticing the flowers.] 
What lovely roses! 

Miss Armstrong 

They're mine — they came just a moment ago. With- 
out any card, too! 

Susan 
[Chaffing her.] Aha! An anonymous admirer — ! 

Miss Armstrong 
[Embarrassed and pleased.] My dear, how foolish! But 



86 ROMANCE 

you know it's the first time in years that anyone's sent me 
flowers, and — 

[There is the sound of sleighbells outside.] 

Susan 

[At the window] Oh, look! It's uncle's sleigh! He's 
driving his new team! 

Miss Armstrong 
Is he getting out? 

Susan 

Yes. He's come to call for me on his way uptown. 
{Glancing at clock.] I wonder if Tom — 

Miss Armstrong 

My dear, there's no telling when he'll be back. And as 
there's something I want to discuss with your uncle, I 
think you may as well go home. 

Susan 

Miss Armstrong, promise me not to tell him I came — 
unless he speaks of it himself, I mean. I don't want to be 
a drag on him. Oh, Miss Armstrong, promise — please! 

Miss Armstrong 

Very well, my dear — if you insist. But what he really 
deserves is a good, plain talking to, and — [Giles enters.] 

Giles 

[Announcing.] Mr. Van Tuyl. [He stands aside to let 
Van Tuyl pass.] 



ACT II 87 

Van Tuyl 

[Who wears a long fur coat and driving gloves.] How d'you 
do, Miss Armstrong. Real New Year's Eve weather — 
eh? [Taking off his coat and giving it to Giles.] Well, 
Susannah! I thought I'd find you and Tom waving your 
arms and singing hymns and generally getting up steam 
for tonight's procession! <^ 

Susan 

[Smiling.] Tom's out. Can Ralph take me home? [She 
puts on her wraps.] 

Van Tuyl 

Yes — good idea. I don't like to keep the horses stand- 
ing. [To Miss Armstrong.] Have you seen my new team, 
Miss Armstrong? The prettiest sight in New York — 
[At the window.] Look at that off mare there! Isn't she a 
little witch? The highest stepper on the Avenue and a 
mouth like a French kid glove! 

Miss Armstrong 

She looks very wild indeed! [To Susan.] Good-bye, my 
dear. Tell Ralph to be careful. 

Susan 

[Kissing Miss Armstrong.] Don't forget your promise. 
[In a lower voice.] And, dear, don't worry. I don't worry — 
I know it's going to be all right. [She goes out.] 

Miss Armstrong 

[Turning from the door.] Oh, Mr. Van Tuyl, I — I am in 
great — in very great distress! 



88 ROMANCE 

Van Tuyl 
Dear lady, what is it? 

Miss Armstrong 

[Crying quietly.] I'm ashamed to act like this — but — 
it's been so hard carrying it on my mind — all alone — 

Van Tuyl 
[Soothingly.] There — ! Count on me. 

Miss Armstrong 

You're Tom's oldest friend — and his father's and 
mother's before him — and you're his leading parishioner, 
too — and the chairman of the vestry — [She sniffs.] 

Van Tuyl 

[Comfortingly.] I know — I know — 

Miss Armstrong 

[Breaking down.] Oh, save him, Mr. Van Tuyl — save 
him from that d-d-dreadful woman ! [She sobs.] 

Van Tuyl 

I've done my best. He came to see me Saturday about 
the new gymnasium and I talked to him as I would have 
to my own son. 

Miss Armstrong 

What did he say? 

Van Tuyl 

He was very sweet, but somehow he wasn't there — the 
real Tom, I mean — it was only the outside shell that I 
was speaking to. 



ACT II 89 

Miss Armstrong 
I know! I've seen it! He's with her! 

Van Tuyl 

[Reassuringly.] Oh, come, Miss Armstrong! You 
mustn't be alarmed! Remember that she sails tomorrow 
morning, and — [Glancing out window.] Hello — ! 

Miss Armstrong 
[Stopping.] What's the matter? 

Van Tuyl 
Why, her carriage is just stopping at your door! 

Miss Armstrong 

[In amazed horror.] Not Madame Cavallini — ? 

Van Tuyl 

I rather think she's out to pay some calls. [As Miss 
Armstrong goes and pulls the hell-rope.] What are you going 
to do? 

Miss Armstrong 

Tell Giles I'm out. 

Van Tuyl 

[Frankly.] Let her come in. Perhaps I could say a word 
or two — 

Miss Armstrong 

[Earnestly.] You'll make her promise not to write to 
him? 

Van Tuyl 
I'll do my best. 



90 ROMANCE 

Miss Armstrong 

[Vehemently.] There ought to be a law against such 
women! Why, I'd sooner have a hungry tigress walk into 
this room than — 

Giles 

[At door.] Madame Cavallini. [He enters and stands 
aside to let her pass. She comes in quickly. She wears a 
wonderful black velvet dress, an ermine coat, and a little ermine 
hat. Around her neck is a long rope of pearls; at the end 
hangs a cross. In her arms, as if it were a baby, she carries 
a great ermine muff. From one end of this peeps a monkey's 
head, adorned with a scarlet satin turban, a long green 
aigrette and a diamond clasp.] 

Rita 

[To Miss Armstrong, shaking hands.] My dear meess, 
'ow you do? I come in for vone meenute jus' to say good- 
bye an' — 

Miss Armstrong 

[Seeing monkey and drawing back with a cry.] Oh — ! 
What's that — ? 

Rita 

What — ? [Noting her look.] An' I breeng my leetle 
bab-ee to show you. You like bab-ees — yes? 

Miss Armstrong 
That's not — a baby? 

Rita 

[Laughing.] Oh, no — no — no ! Vhat you t'ink? I call 
'er bab-ee — because I am so — lonely — you too 'ave 



ACT II 91 

no bab-ee, so you on'erstan' — yes? [Seeing Van TuyL] 
Oh — ! [Advancing to him.] 'Ow you do, Meestaire Van 
Tuyl? [She shakes hands with him.] 

Van Tuyl 

[Shaking hands.] How do you do? It seems a long time 
since we've met. 

Rita 

Dat night I sing at your so bee-eautiful soiree! To me, 
also, it seem a long, long time. 

Van Tuyl 

And Adelina — [To the monkey.] Comment qa va, made- 
moiselle — hein? I hope you find the weather not too 
cold — ? 

Miss Armstrong 
Adelina — ? 

Rita 

Yes — because she look so much like Patti in La Tra- 
viata. [To Van Tuyl.] I t'ink she 'ave forget you, sir. 

Van Tuyl 

You ladies can forget so quickly. 

Rita 

Yes? Sometime — I vish you men forget a leetle — ■ 

too ! [Taking the monkey out from muff.] Tesoruccio mio, 
sei quasi gelato — non importa qui fa caldo! [The tiny 
animal wears a fantastic costume of bright green satin. Her 
skirt is ornamented with large diamond buttons.] 

Miss Armstrong 
Why, it's all dressed up! 



92 



ROMANCE 



Rita 



[In surprise.] But surely she is dress! Do you vant she 
go — 'ow you say? — naked? Dat vould be — ah! shock- 



eeng 



Miss Armstrong 

Are those — real diamond buttons? 

Rita 

Yes. De prince de Chimay, 'e give 'er dose. So pretty 
— eh? 

Miss Armstrong 

[Indignantly.] I call it sinful waste — I 

Rita 
[Wistfully.] You don' like de monkee — no? 

Miss Armstrong 

Certainly not — horrid little animals! 

Rita 

[Warningly] Tschk — ! Tschk — ! You 'urt 'er feel- 
ing! Ecco — see — ! She begin to cry! [Suddenly thrust- 
ing Adelina into Miss Armstrong's arms] Kiss 'er please — 
tell her you like 'er jus' vone leetle bit — 

Miss Armstrong 

[Frantically.] Stop it! How dare you — ? Take it 
away — oh! oh! It's going to bite me — Mr. Van 
Tuyl — 

Van Tuyl 

[Taking the monkey.] Come here, Adelina — there — 
that's right! 



ACT II 93 

Rita 

[To monkey.] Bellezza mia! fu un' faresti male a nessuno! 
{Taking monkey.] I t'ink she is like me, Meestaire Van 
Tuyl. \With a reproachful glance towards Miss Armstrong.] 
She is not 'appy when de peoples do not love 'er! [Slip- 
ping the monkey into muff again.] Ti amo — bambinello 
mio — si — ti amo! 

Miss Armstrong 

[Watching her.] Ugh! 

Rita 

[Putting both muff and monkey in big chair by fire where 
neither can be seen.] I put 'er 'ere an' she vill take vone 
leetle nap! [Bending over chair ^ Dormi, bambina car a di 
mamma — e stai la — buona, buona — finche mamma ti 
sveglia! [Rising and turning quickly to Miss Armstrong.] 
Santa I 'ave forget! I 'ave a something to tell you from 
Meestaire Tom! 

Miss Armstrong 

You've seen him? 

Rita 

[Innocently i] But yes — 'e drive vit' me. I leave 'im at 
de — oh, vhat you say? — de parish 'ouse. 'E mus' spik 
to de con-firm-a-tion class — [To Van Tuyl.] What is dat? 
Con-firm — 

Miss Armstrong 

[Interrupting.] Isn't he coming home? 

Rita 
Yes — jus' a leetle vhile, 'e say. [Holding out her hand 



94 ROMANCE 

to Miss Armstrong.] So I come firs' — to make my respec* 
to you, dear meess, an' say good-bye. 

Miss Armstrong 

[Stiffly, to Van Tuyl, paying no attention to the outstretched 
hand.] When Madame Cavallini goes, I hope you'll step 
up to my sitting-room and have a cup of tea? [He hows.] 

Rita 

[Seeing the roses on the desk.] A-ah! De roses — dey ar- 
rive all right? You like dem — yes? I 'ave choose each 
vone myself — ! [She smiles winningly at Miss Armstrong.] 

Miss Armstrong 
[Amazed.] You sent me those — ? 

Rita 

\Wistfully.] Jus' a leetle surprise — to remember me 
two — free days after I 'ave gone — so far! 

Miss Armstrong 

[After a speechless moment.] Thank you — you were very 
kind. [She goes over and takes up the bowl oj roses from the 
desk.] Mr. Van Tuyl will put you in your carriage when- 
ever you're ready. Good-bye, madame, I wish you a 
pleasant voyage! [She goes out at back.] 

Rita 

[Turning in wonder to Van Tuyl.] Vhat for she go avay 
so qveeck? 

Van Tuyl 

I asked her to. I said I wanted to talk to you alone. 



ACT II 95 

Rita 

[Turning away.] Yes? Could you not come to my 'otel? 

Van Tuyl 
I may be wrong, but I thought I wouldn't be received. 

Rita 
[Not looking at him.] Mebbe you are not so wrong. 

Van Tuyl 
Come here. 

Rita 

[Coming up to him.] Vhat you vant? [She looks at him 
and suddenly smiles.] 

Van Tuyl 

[Smiling, too.] You little monkey, you — [Recovering 
himself.] Now pretend for five minutes I'm your father 
confessor! 

Rita 

You vant to scold me — yes? 

Van Tuyl 

[Taking her by the shoulders.] Well, that depends — 
we'll see. Has Tom asked you to marry him? 

Rita 
[After a little pause.] No. 

Van Tuyl 
I'm glad. And if he did? 



96 ROMANCE 

Rita 

[Not looking at him, speaking with a rather sulky defiance.] 
I vould not marry 'im — an Amer'can cler-gee-man. 'E 
vould vant I stop singing an' be so frightful good an' 
live 'ere in dis 'orrible New York — mos' col' diz-a- 
gree'ble place I ever see — ! Adelina, in two — t'ree 
mont's she die — yes ! An' 'e vould not let me go to Paris 
vhen I need de new dress — an' I vould be all bore — an' 
seeck — [With a sniff.] Mebbe / die, too — an' den — 
everyvone is glad — ! [She dries her eyes resolutely with her 
handkerchief.] Oh, no, my frien', I vould not marry 'im — 
no — no — dat vould be vone beeg meestake! 

Van Tuyl 
Then why do you lead the poor boy on? 

Rita 
Lead 'im — ? 

Van Tuyl 

He's not like the young gentlemen you're accustomed to 
have circling round you — remember that, my dear! He's 
not a Baron Vigier or a Captain Ponsonby or a — who was 
that little Pole who singed his wings so badly when you 
sang last spring in Brussels? 

Rita 
No, my frien' — no — 

Van Tuyl 

[Interrupting.] Well, isn't that pretty much the way 
you're treating him? Aren't you amusing yourself — just 
a little bit at his expense? 



ACT II 97 

Rita 

You do not on'erstan' — ah! it is so 'ard to say! 
Leesten — ! [She speaks very seriously.] 'Ow long I know 
'im? Two mont's? Ver' veil — [Solemnly.] In all dat 
time 'e 'as not spik to me a vord of love — no, not vone 
leetle vord! 

Van Tuyl 

[Amazed.] What — ? 

Rita 

At first I try to make him — oh, you know — jus' 
for fun! An' den — some'ow — I am so sorry for 'im — 
an' I don't try any more! [She sits on a hassock at his feet, 
leaning against his knees. He puts his hand on her shoulder.] 

Van Tuyl 

[Tenderly.] My poor little Rita. Don't you know 
there's nothing in all this, dear, for you? 

Rita 

[With a sigh.] Oh, yes! I 'ave so often say, "Seelly 
voman, do not see 'im vhen 'e come today. Jus' tell de 
gentleman down-stair you vant to sleep an' no-bod-ee 
shall vake you up ! " 

Van Tuyl 
Well, why didn't you? 

Rita 

I say no-bod-ee — like dat ! No-bod-ee in all de vorld — 
[Shamefacedly.] — excep' jus' Meestaire Tom I [With a sigh.] 
Dio, come e dura la vita! 



98 ROMANCE 

Van Tuyl 
So that's the way it went! 

Rita 

An' 'e come so much — oh! all de time! An' I cannot 
practice an' 'e take me for de valk in de Gran' Central 
Park. Vone day 'e keep me so late, dere is no re'earsal — 
yes, an' I sing dat night — ! Oh! It vas mos' terr'ble! 
[Shyly.] But also it vas — nize! 

Van Tuyl 
[Softly.] I know — I know — 

Rita 

An' den ve go 'ome to de 'otel an' I play for 'im — an* 
sing — sometime I tell de fortime vit' de card. An' 'e sit 
near an' spik of many t'ings! 

Van Tuyl 
What sort of things? 

Rita 

Oh, I dunno. Sometime vhat 'appen vhen 'e vas a 
leetle boy — an' vhat de bee-shop say about 'is vork — 
an' of de new geem-nas-i-um 'e 'ave build — an' so much 
of de poor peoples dat 'e vant to 'elp. 

Van Tuyl 
He talks of them to you? 

Rita 
[Nodding.] Oh, yes! An' I — I tell 'im vhat I t'ink! 



ACT II 99 

I vonce vas poor — / know — I on'erstan'. [Glancing up 
at him.] I t'ink you smile a leetle — yes? 

Van Tuyl 
No, I'm not smiling, dear. [Pause.] 

Rita 

\With a sigh^ Ah, my frien', I am vone great big fool — 
I — who 'ave believe I vas so vise! [She smiles and shakes 
her head.] 

Van Tuyl 

Never mind, my dear. It's over now. You're leaving 
us tomorrow, 

Rita 
[Glancing up.] You t'ink 'e vill forget me — yes? 

Van Tuyl 
I'm sure you hope he will. 

Rita 

[Looking off.] I t'ink I vill not forget 'im — or if I do it 
take a long, long time! 

Van Tuyl 

Ssh! Nonsense! [Putting his hands over her eyes.] Shut 
your eyes and think of all that's waiting for you over 
there! Rome. Just say it to yourself. Rome. Do you 
remember those last evenings en the terrace of the Villa 
d'Este? And inside the Abbe Liszt just playing and play- 
ing his — what did he call 'em? — " Consolations? " Do 
you remember that old piece of balustrade, and the 
Campagna, all purple like the twihght-laden sea? And 



loo ROMANCE 

far away, like smoke against the sky, St. Peter's dome? 
And that's not all — there's Florence, and the olive- 
covered hills of Fiesole! You'll be there for the first 
breath of the spring! And Como with the snow still on 
the mountains! And Paris — why, you'll see the first 
acacias on the Boulevard St. Germain — you'll smell 
the lilacs when you're driving in the Bois — I And Gounod 
will be there, and your dear old friend Rossini — ! Think 
of the dinners at the Maison Doree, and the violets in 
the forest of Compiegne — ! Think of the suppers Cora 
Pearl will give! Do you remember when the Brohan 
poured her champagne down the prince's back? And 
Marianne de Murska — good old Gigi, too — why, don't 
you know what fun you're going to have? 

Rita 
Oh, dere is only vone t'ing dat I know! 

Van Tuyl 
What's that? 

Rita 
[Passionately.] I love 'im — I love 'im — 

Van Tuyl 

[Covering her mouth with his hand.] Ssh — ! Rita, you 
oughtn't to have come here today. It isn't right — it isn't 
fair to either of you. 

Rita 
But 'e ask me so many time! 

Van Tuyl 

If you don't look out, you're going to make him suffer 
a great deal. 



ACT II loi 

Rita 

[Quickly.] Ah — no — no! 

Van Tuyl 

[Gently.] It rests with you, my dear — his happiness or 
pain. 

Rita 

[After a pause, rising.] All right. I go now — befor 'e 
come. 

Van Tuyl 
You won't regret it, dear. 

Rita 

[Unpinning a bunch of white violets from her wrap.] So 
vhen 'e ask for me — jus' give 'im dese — an' say it is — 
adieu — [She kisses the violets and holds them out to him. 
Just here the door opens and Tom bursts in, full of splendid 
spirits, utterly boyish and happy. He wears his overcoat and 
gloves.] 

Tom 

[Entering.] Well, did you think I never was — [Seeing 
Van Tuyl.] Oh, is that you, sir? How do you do? [Shaking 
hands.] I'm glad Madame Cavallini hasn't been waiting 
here alone. Where's Aunt Emma? 

Van Tuyl 
Upstairs. 

Tom 

[Pulling of his gloves.] Whew — ! It's cold outside! 
I'm nearly frozen and I ran home, too ! Those little rascals 
were so stupid — I wanted to spank the lot! [Rubbing his 



I02 ROMANCE 

hands.] Now I'll just put some more coal on the fire and 
then we'll all sit down and — 

Van Tuyl 

I think, Tom, Mme. Cavallini was just going when you 
came in. 

Tom 

[Stopping.] Going — ? 

Rita 

[Recollecting herself.] Yes, I mus' sleep a leetle before 
tonight — my las' performance — I so much vant to give 
my best — [She has moved towards the door.] 

Tom 

[Running up and taking her hand.] Oh, come now, you're 
not going! 

Rita 

[Faltering.] Please, Meestaire Tom, de performance — 

Tom 

[Drawing her over to fire.] Oh, that's all right — it's 
Mignon and you know it backwards. 

Rita 

[Helplessly to Van Tuyl.] You see — 
[Giles enters at back.] 

Giles 

[At door.] Miss Armstrong's compliments, Mr. Van 
Tuyl, and tea is served in the sitting-room upstairs. 



ACT n 103 

Tom 

[Quickly.] Don't say we're here. We'll come up later. 
[Van Tuyl looks at Rita.] 

Rita 

\Pleadingly.] In jus' vone leetle vhile! 
[With a shrug, Van Tuyl turns and goes out. Giles closes 
the door after him.] 

Tom 

\With a sigh of pleasure as the door closes.] There! Now 
isn't this fine? I tell you, it's like a dream come true! 

Rita 
Vhat dream, please? 

Tom 

You — here in my big armchair — in front of my fire — 
in my study! 

Rita 

\Wistfully.] A dream — ah, dat is vhat I am! A leetle 
dream dat lose 'er vay an' rest vone meenute in your sleep- 
ing 'eart. 

Tom 

One minute? Always! 

Rita 

[Smiling^ Ah no, my frien'. Tomorrow you vake up, 
an' pouf ! dat leetle dream — she is all gone! 

Tom 

No — don't — 



I04 ROMANCE 

Rita 

[Softly.] You 'ave been 'appy den, dese las' veeks — 
yes? 

Tom 

[Lifting his eyes to hers.] You know. 

Rita 
[Very softly.] I 'ave been 'appy too. 

Tom 
[Impulsively.] Don't go tomorrow! 

Rita 
Vhat you say? 

Tom 
Stay on till spring! 

Rita 

But 'ave I not tell you I mus' sing in Rome nex' mont' 
— ? An' I go to Venice for de new opera Verdi 'ave com- 
pose — 

Don't go — oh, please don't go! 
Rita 

An' den I mus' see Mapleson in London, an' de Rus- 
sian concert tour begin in June — 

Tom 
I don't care — I just can't say good-bye! 

Rita 
[Illumined.] Den come vit' me! 



ACT II los 

Tom 
[Surprised.] What? 

Rita 
Go qveeck an' buy de teecket — 

Tom 
Ticket — ? 

Rita 

[Enthusiastically.] Yes — before dey are all gone! — an' 
tomorrow ve put de clo'es in de box an' de box on de car- 
riage an' drive to de quai an' oh! ve stan' on de boat — 
you an' me an' Adelina — an' ve vave de 'an'kerchief an' 
t'row de kiss an' laugh! — oh! my Lord, 'ow ve laugh at 
all de stupid peoples ve leave behin'! Vhat you t'ink of 
dat? Hein? 

Tom 

I think it's wonderful. But I've got a meeting of the 
Board of Charities tomorrow at eleven, and Patrick Crow- 
ley's funeral at twelve, and after dinner I ofifer my annual 
report to the Vestry Committee, and in the evening my 
Knights of the Round Table boys — 

Rita 
[Interrupting.] I 'ave forget you are a clerg-ee-man. 

Tom 

And / forgot you were a Golden Nightingale. [Pause.] 

Rita 

[Nodding to herself.] 1 t'ink it is a ver' good t'ing I go 
avay tomorrow. 



io6 ROMANCE 

Tom 

[Much downcast.] But you're coming back next year? 

Rita 

[With a gesture.] Ah, vhy talk about nex' year — it is so 
far avay! 

Tom 

In my profession, one has to think a great deal about 
things that are far away. 

Rita 

Den you are ver' foolish — [As he starts to protest.] — 
yes, you are! Leesten! I am ol' an' I know de vorld — so 
vhat I tell you now you mus' remember alvays. 

Tom 

Well? 

Rita 

[Wistfully.] Yesterday — it is a dream ve 'ave forget. 
Tomorrow — jus' de 'ope of some great 'appiness — some 
joy dat never come! Before, behin' — all clouds an' 
stars an' shadow — nodings, nodings dat is real — only 
de leetle meenute dat we call today! 

Tom 

[Bitterly.] Today's so short! 

Rita 

[With a smile.] Ah, you are young, my frien'! De time 
vill come vhen you are glad to 'ave dat leetle meenute — 
so glad you vould not t'ink to ask for more ! [Changing her 
tone.] Dio mio! De 'ours, dey fly so fas'! [Pointing to a 



ACT II 107 

chair.] Go sit down — fold your 'ands! Now ve vill see 
'ow much Eetalian I 'ave teach you. 

Tom 

[Disappointed.] Oh, bother Italian! Don't let's waste 
time when — 

Rita 

[Interrupting.] De lesson 'ave begin. [Primly.] Buon 
giorno, signor. 

Tom 

[Sulkily i] Buon giorno, signora. 

Rita 

Sta ella bene oggi? 

Tom 
\With some difficulty.] Molto grazie io sono henissimo. 

Rita 

[Smiling.] Sono quelli i suoi istrumenti da pesca? [Point- 
ing to case — right.] 

Tom 

[Not understanding.] Istrumenti da pesca? 

Rita 

[Imitating the act of fishing.] 'Ow you say — for de 
feeshes? 

Tom 

[Understanding.] Oh, fishing rods! 

Rita 
Si — sil Le piace pescare? 



io8 ROMANCE 

Tom 

[Shaking his head.] Er — I'm afraid I don't get it. 

Rita 
You lika to 'unt de feeshes? 

Tom 

[Enthusiastically.] Do I? Well, I should say! There's 
a stream up in the Adirondack Mountains — you'd just 
love those mountains! — where I landed ninety-four trout 
in one day! Ninety-four — what do you think of that? 

Rita 
Poor leetle feeshes! 

Tom 

[Tolerantly.] Oh, they don't mind. They like to be 
caught. 

Rita 

[Pointing to the stag's head over the door.] E quel' cervo lo 
ha ammazzato lei anche quello? 

Tom 
Did I shoot him, you mean? 

Rita 

Si — si. 

Tom 

[Enthusiastically] Well, you'd better believe I did! I 
got him all myself and — 

Rita 

[Interrupting] Oh, Id, — la! Badil Italiano — Italianol 



ACT n 109 



Tom 



[Pointing to himself proudly.] lo — tutti io — guide three 
miles away! Moltissimo grande — biggest hucko that 
season — tried to gore me with those antlers, but I plugged 
him just in time — molto sporto, I tell you! 

Rita 

[Clasping her hands.] Santa Madonna! You mus' be 
careful please — mebbe some day you get 'urted! 

Tom 
[With a slight swagger.] Oh, no, I won't! 

Rita 

[Looking over the door.] An' de beeg oar — vhy you keep 
'im dere? 

Tom 

[Proudly.] I pulled that oar in the best race Yale ever 
won! I was number six — we beat Harvard by quarter 
of a boat-length. That was '59 — my senior year. [Anx- 
iously.] They didn't have anything about it in the Euro- 
pean papers, did they? No — ? [Looking at the oar.] Well, 
it was a great race just the same! 

Rita 
[Softly.] I am so glad you vin! 

Tom 

[Pleased.] We wouldn't have done it if it hadn't been for 
Dicky Parker. [Going to the mantel and taking up a small 
photograph.] He was our stroke — had the finest pair of 
legs in college, and as for his back — [Reverently.] — well, I 



no ROMANCE 

just wish you could see the muscles in his back! [Giving 
her the picture.] Here he is — he looks sort of foolish in that 
picture, though. 

Rita 
[Looking at it.] He look ver' nize. 
Tom 

[Giving her another picture.] And here's Dave Sterling. 
He played first base on the college team. Dave went to 
China last year as a missionary — [Giving her another.] 
And here's Frank WiUis — he was killed at Gettysburg, 
you know — [Suddenly seizing another in a frame at the end 
of the mantel.] Oh, and here's WalHe Fletcher — he's the 
fellow I told you about, that used to spend his summers 
with me up at Peekskill before father sold the place. 

Rita 

[Taking the picture.] De leetle boy dat sveem across de 
rivair? 

Tom 

That's the one! Didn't we have good times though? 
We always went barefoot — used to pick up things with 
our toes. I could beat Wallie running and jumping, but 
of course he had me when it came to swimming — and 
then he could whistle through his teeth! Dear me, when 
I think of the hours I spent in the back pasture all by my- 
self, just trying to whistle through my teeth! 

Rita 

[Sympathetically.] A-ah! 

Tom 
But I made up for it when I learnt to turn a back somer- 



ACT II III 

sault. Wallie used to rub himself every night with boiled 
angle-worms — he'd heard all acrobats did that — [Sud- 
denly.] But there! I'm always talking about myself! 
Suppose you talk about yourself for a change? 

Rita 
Me — ? 

Tom 

Yes, tell me about some of the larks you used to have. 
The good times — you know what I mean! 

Rita 

[A little timidly.] De good time — ? I am afraid I did 
not 'ave dat ver' much — [Suddenly.] But vait! Yes, I 
remember vonce ! My baba — 

Tom 

[Interrupting.] What? 

Rita 

Dat mean my fader — 'e is dead — [She closes her eyes, 
says something under her breath in Latin, crosses herself and 
then resumes brightly.] — ve live in vone leetle room ver', 
ver' 'igh up — Calle San Polo on de Zattere. Vone morn- 
ing de baba, 'e feel seeck — ve 'ad not anyt'ings to eat — 
so I mus' leave 'im qveeck an' go an' sing to get de money. 
An' I sing an' sing, but no vone vill give nodings, an' de 
bad boys dey laugh, an' t'row de dirt at me, an' vone of 
dem, 'e break my guitar! An' de night come, an' I am so 
tired I don't know vhere I go or vhat I do — an' den I fin' 
myself before de 'Otel Danieli. An' I try to sing — but no 
vone leesten, an' de tears dey come so fas' I cannot see — 
an' jus' den I 'ear a voice say "Don' cry please!" I don' 



112 ROMANCE 

on'erstan' de Engleesh den, but I look up an' a leetle girl, 
all dress in vhite, she lean ovair de balcony an' smile at 
me an' drop an envelope an' in de envelope vas — vhat 
you t'ink? — a bee-autiful bright piece of gol' ! An' de 
tears, dey 'ave an en', an' I smile up at de leetle girl, an' 
keess my 'an' an' run avay an' oh! dat night I cook a — 
'ow you say? — a great beeg deesh of nize, fat, dee-licious 
fried eel! Dat suppair, it come back to me in dreams an' 
I seet again on de broken stool an' eat an' eat, an' de baha, 
'e make de joke an' oh! my Lord, I am so glad! An' den 
I vake up — an' feel de pearls aroun' my neck — an' I 
cry — because it vas so long ago! [Slight pause.] 

Tom 

[Whispering.] You poor little thing — 

Rita 

[Coming back to herself.] So you see I 'ave de good time, 
too! 

Tom 

[Unsteadily.] You — poor little thing — [He rises and 
comes to her.] 

Rita 
Vhat you say? 

Tom 

[Passionately.] Madam Cavallini — Margherita — I — 

Rita 

[Shrinking from him in sudden nervousness.] No — no — 
[Just here a hand-organ strikes up outside the windoWy 
playing the old waltz — "II Bacio."] 



ACT II 113 

Tom 
[Startled and furious.] Drat that hurdy-gurdy! 
Rita 

[Slyly.] I t'ink it come jus' in time! 

[Tom goes over to the window where he looks out. Mean- 
while Rita is dancing lightly and gaily about the room, 
whistling and snapping her fingers in time with the waltz.] 

Tom 

[Opening the window and calling outside.] Hi! [Pause. 
The waltz continues.] Hi! — you there! Stop that racket! 
Stop it this minute ! [The waltz breaks of in the middle of a 
phrase.] We don't allow any Italian mountebanks in the 
neighborhood of this church and if you don't — [Suddenly 
spluttering with rage.] Take that monkey of my gate! 

Rita 

Monkee — ? [She runs up to the window, and calls gaily 
outside.] Buon giorno, amicol [Tom stands petrified, staring 
at her.] Che tesoro di una scimmietta avete! Come si chiama? 
[The man calls back something in Italian.] Hein? To- 
mmaso — ? [To Tom.] You an' de monkee 'ave de same 
name! [Calling outside.] Quanti anni ha? [The man an- 
swers. She turns to Tom.] 'E is two year ol'. [Calling.] 
Ha delle pulci? [The man answers.] Davvero? [To Tom.] 
'E use to 'ave de flea, but now 'e eat dem all. 

Tom 
[Much annoyed.] Really, I — 

Rita 
[Suddenly struck with an idea and calling outside with 



114 ROMANCE 

mysterious importance.] Aspettate un momento — vogliofarvi 
veder qualche cosa! {She runs across the room, picks up her 
own monkey and returns to the window.] I make acqvainted 
Tommaso vit' Adelina! 

Tom 

[Trying to stop her.] Please, madame — remember my 
parishioners — 

Rita 

[Holding up Adelina at the window and calling outside.] 
Ecco — ! Tommaso, questa e Adelina — siete compatrioti! 
[To Adelina.] Sii carina e saluta Tommaso — colla tua 
manina — [Waving a hand for her.] Brava — cost! [To the 
organ-grinder.] E voi, amico, come vi chiamate? [The man 
answers. She turns again to Tom.] De gentlem^an's name is 
Meestaire Francesco Guerra. [Calling outside.] Da che 
provincia venite? [To Tom.] 'E come from Napoli. [Call- 
ing.] Da quanta tempo siete in questo paese? [To Tom, as the 
man answers.] 'E been 'ere vone year an' 'e vant like 'ell to 
go back! [Calling.] Quanti bambini avete? 

Tom 

[Firmly.] Madame, you'll catch your death of cold! 

Rita 

[Turning to Tom.] 'E 'ave five children an' anodder 
vone come nex' mont' ! 

Tom 

[Angrily.] Tell him to go away, do you hear? Tell him 
to go away immediately ! 

Rita 
{To Torn.] All right — give me de money — 



ACT II 115 

Tom 

[Protesting.] You're not going to — [Meekly taking out 
his purse.] Will ten cents do? 

Rita 

Qveeck — qveeck before 'e go avay! [She snatches the 
purse out of his hand and throws it out the window, calling 
as she does so:) Ecco — guardafe bene dove cade — com- 
perate qualche cosa pei bambini! Buona fine e buon prin- 
cipio, amico! [Waving her handkerchief.] Arrivedercil 
[She smiles and kisses her hand at the departing organ- 
grinder.] 

Tom 

[Coldly.] You talk to that man as if you'd known him 
all your life! 

Rita 

[Turning away from the window with a little sigh and 
shrug.] Ah, ve bot' make de music! [Suddenly seeing the 
daguerreotype on the desk.] Who is dat young lady? 

Tom 
That's my mother. [Slight pause.] 

Rita 
You let me look at 'er — yes? 

Tom 

Of course. [She takes up the picture very tenderly and 
studies it.] 

Rita 
[Softly.] Oh, she is bee-eautiful! 



ii6 ROMANCE 

Tom 

[Coming up and looking at it over her shoulder.] That was 
taken before she was married. My father always had it 
on his dressing-table. 

Rita 

[Always gazing at the picture.] I t'ink you look like 'er. 

Tom 

[Looking at it, too.] She died when I was fifteen. It was 
my first winter at boarding school. She'd come up to see 
me only two weeks before and brought me this — [Picking 
up a small, worn book from desk.] — my little Testament. 
I'd expected a fruit-cake — you can imagine how I felt! 
But now — [He brushes it lovingly.] — there's nothing else 
I value quite so much! 

Rita 

[Whispering.] She look like she 'old somet'ing in 'er 
'eart — somet'ing dat make 'er 'appy — an' dat no vone 
know — [Slight pause.] Per-aps — per'aps it is de fought 
dat vone day she 'ave a son — like you — 

[Tom has crossed the room and is unlocking a drawer in 
the corner-cabinet.] 

Rita 

[Under her breath, to the picture.] Forgive — [She kisses 
it, then puts it back carefully on desk.] 

Tom 

[Returning with a little box.] There's something here I've 
been meaning to show you — [He is opening the box and 
fumbling about in it.] I keep it in this box with mother's 
little souvenirs — [He has taken out a tiny, shabby, little shoe 



ACT II 117 

and put it on the desk to get it out oj the way\ Where on 
earth — [Suddenly.] Oh, yes ! [He takes out a small package 
done up carefully in tissue paper.] 

Rita 
[Picking up the shoe as she interrupts.] An' dis — ? 

Tom 

[Glancing at it.] That? Oh, I believe that's my first shoe. 
[His tone softening as he looks at it.] Funny little thing — 
look! It's all worn out at the toes ! 

Rita 

[Half -laughing, half-crying.] Oh! — oh, I t'ink it is so 
sveet! [She clasps it to her heart.] 

Tom 

[Taking a little envelope from the box and giving it to her.] 
Here's something else, too! 

Rita 

[Tremulously, as she takes.] Vhat — ? oh, vhat you — 
[Reading slowly from the envelope.] "Curl saved from my 
son Thom-as Arm-strong's first 'air-cut — June seex — 
eighteen 'undred an' forty-vone — " 

Tom 
[Smiling.] Let's see — I must have been three years old! 

Rita 

[Who has taken out the curl.] Oh, look! De leetle curl — 
it is so soft — an' yellow — jus' like gol' — 



ii8 ROMANCE 

Tom 

I was blonde when I was young — you'd never think it 
now, would you? 

Rita 

[Half -laughing, half-crying.] An' she 'ave keep it in 
dis envelope an' write upon it — "Curl from my son 
Thom-as" — [She cannot go on.] 

Tom 

[Half apologetic] She did that because she was very 
sentimental. 

Rita 

[Bursting out.] She did it because she love you such 
a much! 

Tom 

Here's what I really wanted to show you, though. [He 
is unwrapping the little package he has been holding in his 
hand. Rita kisses the curl and puts it back in its envelope 
with great care.] Now! Look at those! 

Rita 

[Looking.] A necklace — earrings — 

Tom 

They were father's wedding present! [He holds up the 
necklace — it is made of seed pearls and has a locket.] There! 
Isn't that pretty? 

Rita 

[Admiringly.] Oh, mos' ver' pretty! 

Tom 

There's one of my baby pictures in the locket. [Trying 



ACT II 119 

to open locket.] I wonder how — oh, yes, I remember — 
you press the back and then it opens ! There — ! [He 
gives her the locket. She takes it eagerly, looks at it, glances 
at him, then breaks out into irrepressible laughter.] What's 
the matter? 

Rita 

[Trying to control herself.] You are so — so f at! 

Tom 
[Frowning.] Fat — ? 

Rita 

You 'ave such beeg cheek — jus' Kke dis — [She puffs up 
her own cheeks, loses her breath and starts laughing again.] 

Tom 

[Severely.] I beUeve I was considered a very beautiful 
baby! 

Rita 

You are de mos' funny baby I ever see in all my life! 

Tom 

[Coldly.] Oh, very well. I'm sorry I showed it to you! 
I might have known that — 

Rita 
[Interrupting.] Ah, don' be angry. 

Tom 
[Not turning^ I'm not angry! 

Rita 
So? Den von' you turn your 'ead — please? [Slight 



I20 ROMANCE 

pause.] I go avay tomorrow! [Slight pause.] Mebbe I 
never come back! [Long pause. Then dreamily.] I t'ink 
you are de mos' bee-eautiful baby in de whole vorld. 

Tom 
[Loftily.] No, you don't either. 

Rita 

[Eagerly.] So — si! It is true! [Softly to the picture.] 
So good-bye, leetle fat boy — good-bye — good-bye I [She 
kisses it twice.] 

Tom 
[Turning and seeing her.] Thank you. 

Rita 

[Shutting the locket.] Dat vas for 'im, my frien' — not 
you! [She holds out the necklace for him to take.] 

Tom 
[Embarrassed.] Er — don't you want to keep him then? 

Rita 

Keep 'im? 

Tom 

Yes, and the necklace, too. I wish — I mean I hope you 
will. 

Rita 
But no — I cannot — 

Tom 
Please — just as a favor to me! 



ACT II 121 

Rita 
It is your moder's — 

Tom 
[Eagerly.] I know — that's why! 

Rita 
But she vould not like it — 

Tom 

[A little pompously.] Of course I realize how you feel 
about accepting presents of jewelry from men, but I think 
in this case — it's — er — quite all right! [Her hand has 
gone instinctively to her string of pearls.] What are you 
doing? 

Rita 

[Unclasping her own pearls.] I make for it de place! 
[She drops her string of pearls on the desk.] 

Tom 

[Heartily^ Aha! I knew you would! [Giving her the rest 
of the package.] Here! take the earrings, too! 

Rita 

\With tender enthusiasm.] Dio mio! dey are so bee- 
eautiful! 

Tom 

Can you see to put them on? [By this time the room is 
filled with twilight shadows. The firelight is warm and mel- 
low.] 

Rita 

[Standing on a footstool before the mantel and looking into 



122 ROMANCE 

the glass.] Oh, yes, I can see ! {She takes of her own ear- 
rings, lays them on the mantelpiece and begins putting on his 
earrings and necklace. He watches her.] 

Tom 

You know how it clasps? 

Rita 

[Busy with the necklace] Yes, it is all right — [Finishing 
it, and turning gaily to him.] Ecco! Are dey not be-com- 
ing? [He does not answer.] Vhy you look at me like dat? 
Vhat you t'ink of — hein? 

Tom 

[Simply.] I was just thinking how mother would have 
loved you. 

Rita 
Yes? 

Tom 

She loved everything that was beautiful and sweet and 
good. And then your music would have interested her so 
much! She was musical, too, you know. 

Rita 
Is dat so? 

Tom 

[Continuing] Yes, that's why I kept her piano when the 
Worth Street house was sold. I put it over there — so 
when I'm writing sermons and get all mixed-up, I can just 
look at it and imagine I'm eight years old again and hear 
her dear voice singing Annie Laurie. 

Rita 

[Softly] "An-neeLaur-ee?" 



ACT II 123 

Tom 

That was her favorite song. [Hesitating.] I wish — I 
wish you'd sing it once before you go. 

Rita 
I tell you vhat — / play an' you vill sing! 

Tom 
[Embarrassed.] But I can't — I haven't any voice — 

Rita 

Come — vhere is it — in dis book? [She takes up one of 
the hound volumes of music lying on the piano.] 

Tom 

No — the big one underneath — page 27 — but really — 
it's foolish — the idea of my trying to — 

Rita 

[Finding it.] Ah! Now light de candle, please. [She puts 
the volume on the rack.] 

Tom 

[Lighting a long paper ^^ spill" from fire and from it light- 
ing the candles on either side of the keyboard^ It goes up to 
E — that's pretty high, you know. Of course I wouldn't 
mind if you weren't a professional. I always help Mr. 
Gates with the choir, but they're not very critical. 
[Taking up his position by her side.] Give me the note when 
you come to it. 

Rita 

[Playing the little prelude.] Is dat too fas'? 



124 ROMANCE 

Tom 

A little bit — that's better! [She strikes his note and 
pauses, glancing up at him. He hesitates.] Just wait till I 
clear my throat — [He coughs.] It's so long since I've sung! 
Now I'm ready — go ahead! [He sings, she "conducting" 
him with her head and one hand whenever possible.] 
" Maxwelton braes are bonnie 
Where early fa's the dew, 
And it's there that Annie Laurie 
Gie'd me her promise true." 
[Hastily clearing his throat and speaking.] This is where it 
goes up! [Resuming the song.] 

"Gie'd me her promise true, 
Which ne'er forgot will be 
And for bonnie Annie Laurie 
I'd lay me down and deel " 

Rita 
[Playing.] Bravo! Bravo! You sing ver' nize! 

Tom 

[Flattered.] I'll do better with the next verse — see if I 
don't! [Singing.] 

"Her brow is like the snawdrift. 
Her throat is like the swan, 
Her — " 
[Just here Giles opens the door at back.] 

Giles 
I beg pardon, sir. The Deaconesses. 

Tom 

Get rid of 'em! 



ACT n 125 

Giles 
What, sir? 

Tom 

[Impatiently.] I said get rid of 'em! 
[Giles bows and goes out closing the door. Tom resumes the 
song.] 

"Her face it is the fairest 
That e'er the sun shone on. 
That e'er the sun shone on, 
And dark blue is her e'e 
And for bonnie Annie Laurie 
I'll lay me down and dee! " 

Rita 
[Softly, not looking up at him.] It is a song of love. 

Tom 
Yes. But I never knew it until now. Do you know why? 

Rita 
No. Tell me. 

Tom 

Because I never knew what love was — until now. 

Rita 

[Sadly.] An' vhat is love — to you? [She plays a little, 
idly, as she watches him.] 

Tom 

[Leaning on the piano.] It's finding the woman you want 
to live with all your life. The woman who'll show you the 
right way and follow it with you, side by side, shoulder 



126 ROMANCE 

to shoulder, making all the good things seem a little bet- 
ter, and all the hard things — well, not quite so hard. 
It's knowing she'll be with you at your journey's end, 
when you're old, and she's old, and you can smile and 
look into each other's eyes and say "We've done our work 
together, dear — and I think we've done it well." 

Rita 

[After a little pause, her eyes full of tears.] Oh, my frien', 
dat love, it is for some, yes — but it is not for me. 

Tom 
I don't understand — 

Rita 

[Wistfully and tenderly.] For me, love is jus' a leetle light 
in all dis darkness, a leetle varmt' in all dis col', a leetle 
flame dat burn — not long, an' den go out. A star dat 
come an' is so bee-eautiful it bring beeg tears, an' vhen 
ve dry de eyes an' look again — de star is gone. I t'ink 
it is to be a leetle 'appier togedder den ve are apart — vone 
meenute to lie still in de beloved's arms — vone leetle 
meenute to forget, my frien' — an' dat is all. 

Tom 

[Brokenly.] My dear — [He comes swiftly to her and puts 
his hands on her shoulders.] 

Rita 

[Rising.] No — no — 

Tom 

[Whispering.] My dear — my dear — [He draws her to 
him and holds her tightly in his arms.] 



ACT II 127 

Rita 
Oh, vhat you do? 

Tom 
[Pressing her to him.] I love you! 

Rita 
Don' — 

Tom 

[Interrupting.] And you love me. Now say it — 

Rita 

[Piteously.] No — 

Tom 

[Through his teeth.] You must — 

Rita 

[Throwing her arms about his neck with deep abandon.] 
All right — I love you — ! Now ve are alone — you 
'ear — an' dere is nodings in de vorld but you an' me ! Dis 
is our time — our leetle meenute dat vill never come 
again — so shut your eyes — an' 'old me close — an' love — ■ 

Tom 
But, dear, I — 

Rita 

[Putting her mouth to his.] Ssh! [A long kiss. They 
stand motionless, locked in each other's arms. And just 
here from the parish house next door comes the sound of an 
organ and men's voices singing "Ein Feste Burg" — all very 
faint and far away.] 

Rita 
[At last.] Vhat is dat? 



128 ROMANCE 

Tom 

It's just the choir — they're practising for tonight — 
I love you. 

Rita 

[Closing her eyes.] A-ah! 

Tom 

When will you marry me? [She slowly disengages herself 
from him and turns away.] 

Rita 

[Almost to herself.] I 'ave not t'ink de en' vould be so 
soon. 

Tom 

[Eagerly.] When — please tell me when? 

Rita 

Ask me anodder time — no, never ask me — it is jus' 
not possible — 

Tom 

But what's the matter? I don't understand! 

Rita 

[Defending herself.] Vhy you in such a 'urry? You mus' 
vait! 

Tom 

[Coming nearer her.] I'd wait forever — if there's any 
hope. 

Rita 

[Retreating.] Please don' come near — 



ACT II 129 

Tom 
There is hope — isn't there? 

Rita 

No — no — I 'ave make vone beeg meestake! 

Tom 

What — ? 

Rita 

I 'ave let you spik vords dat I mus' never 'ear — 

Tom 
My darling, I — 

Rita 

I t'ink I 'ave been mad for jus' vone leetle vhile, but 
now — I cannot marry you. Good-bye. [She goes towards 
door. He stops her.] 

Tom 
Why not? 

Rita 
Oh, let me go! 

Tom 

Not till you've told me why. 
Rita 

Can you not on'erstan' vhat is so plain an' clear? Your 
frien's — dey know. De night I meet you you 'ave see 
de young men look at me — you 'ave see dere vives an' 
modders frown an' turn avay — 

Tom 

Rita — / [He has guessed her meaning,] 



ISO ROMANCE 

Rita 

Dey know vhy I can never marry you — de whole vorld 
knows — [Her voice softening.] An' now I t'ink if you don' 
min' — I go avay. [There is a pause. Tom controls him- 
self.] 

Tom 

[Very tenderly.] No, my dear — not yet. [He leads her 
to settee by fire.] I think — I think you have something to 
tell me. 

Rita 

I cannot — no — please do not ask — 
Tom 

[Always tender.] I'm not going to ask — I'm just going 
to sit here and hold your hand and listen. [He takes her 
hand.] That's what I'm here for, you know — just to help 
people when they're in trouble and need a friend. 

Rita 

You are so good! 

Tom 

[Qtiite pale.] No, I'm not — but you'll find I'm very 
sympathetic. Why, I remember one day last week — 
Tuesday, it was, that a little tenement girl named Mc- 
Dougal, came in to see me. We sat here just as we're 
sitting now and after a while she told me all about it. She 
was going to be married the next day to a young carpenter 
over on 8th Street — but there was something she hadn't 
told him — poor child ! She didn't dare. She'd been — 
treated badly by some brute of man when she was only 
sixteen years old. Of course he'd left her — and she'd tried 
to put together the pieces of her life and go on with her 



ACT II 131 

work — and then she met the carpenter and fell in love 
and was going to marry him — and at the last moment her 
conscience began bothering her — so she came to me. 

Rita 

An' — vhat you tell 'er? 

Tom 

Oh, I didn't say much! I just suggested things here and 
there, and in the end — God bless her! She made up her 
mind to do the right thing. 

Rita 
De right — ? 

Tom 
She went home and told him all about it. 

Rita 
An' den — ? 

Tom 

[Cheerfully.] He was a decent sort of fellow and he loved 
her, so of course he understood — and — well, I mar- 
ried them Wednesday morning and now they're two of the 
happiest people in New York! 

Rita 

An' vould you feel dat vay, too? 

Tom 
Me? 

Rita 
If somevone dat you love — [Quickly.] no, don't look at 



132 ROMANCE 

me! — [Resuming.] If somevone dat you love come an' 
say "I am not good — I mus' tell you now because ve love 
each oder! You are de first man I 'ave ever love — you 
are de first man I 'ave ever tol' ! " 

Tom 
Well? 

Rita 
Could you forgive 'er — Meestaire Tom? 

Tom 

Forgive her — ? [Brokenly, as he catches her in his 
arms.] You poor little child! 

Rita 

\W ailing.] No — no — you do not on'erstan' — it is / 
who am not good — 

Tom 

[Soothing her.] There, darling, there! Don't cry. It's 
all right. You've been fair and brave and honest. You've 
told me and I forgive you from the bottom of my heart! 

Rita 

[Still sobbing.] Oh — ! Oh! I do not see 'ow it is pos- 
sible — no, I do not see — I don' — I don' — 

Tom 

Why not? It was a long time ago, wasn't it? When 
you were poor and struggling and lonely. You didn't 
know anything about the world — how could you? And 
you had to live — hunger and misery were right behind 
you, driving you on — 



ACT II 133 

Rita 
Yes — oh, yes — 

Tom 

But you mustn't think of it any more! You must just 
remember how afterwards you pulled yourself together 
and raised your head and said to yourself, "I may have 
sinned, but that's all over — and from now on I'm going 
to be a good woman! I'm going to turn the rest of my life 
into a splendid, beautiful thing! I won't stop until I can 
be proud of myself! " And oh, my dear — I'm so glad — 
I'm so glad that you can be — now! 

Rita 
An' is dat vhy you can forgive me? 

Tom 
Is what, dear? 

Rita 
Because it 'appen — so long ago? 

Tom 

[With a touch of his profession.] 1 naturally believe that 
all sins, finished and truly repented of, should be forgiven 
by every Christian man or woman. 

[Pause.] 

Rita 

[Gently releasing herself.] I see — I see! [She rises and 
walks away.] 

Tom 

[With an effort to shake off all these ugly things.] And now 



134 ROMANCE 

that everything's cleared up between us, do you know what 
we're going to do? 

Rita 
No. Tell me. 

Tom 

[Smiling.] Go right upstairs, of course, and announce our 
engagement to Aunt Emma and Mr. Van Tuyl. Come on ! 

Rita 
[Instinctively.] No — no — not now — 

Tom 
What — ? 

Rita 

Vait a leetle — vait until tomorrow — 

Tom 
But you're sailing tomorrow! 

Rita 
Yes — dat is vhy — 

Tom 

[Smiling.] Nonsense! If you don't look out, I'll begin 
to think you're ashamed of me! Come along! [He puts 
his arm about her waist.] 

Rita 

[Holding back.] No, I say — it is too soon — I am not 
ready — ve mus' vait — 

Tom 
Wait? What for? 



ACT II 135 

Rita 
Mebbe — mebbe dey do not like it vhen ve tell dem! 

Tom 
Now don't you bother about Aunt Emma! She — 

Rita 

[Interrupting.] Ah, no! I do not bodder about 'er! 
But — [She stops.] 

Tom 

It surely isn't Mr. Van Tuyl that's worrying you? Why, 
he's my oldest friend — and father's and mother's, too. 
He's just like one of the family! Of course we must tell 
him right off! 

Rita 

Vhy don' you let me tell 'im? 

Tom 
What? 

Rita 

Tonight — vhen I can see 'im all alone! [Eagerly.] 
Oh, please — please let me tell 'im ! 

Tom 
[Puzzled.] But why? What's the matter? 

Rita 
If ve tell 'im now, 'e vill be so angry! 

Tom 
Nonsense! And even if he is, we don't care! 



136 ROMANCE 

Rita 
'E vill say t'ings about me — oh yes, 'e vill! 

Tom 

But he doesn't know anything about you. [She doesn't 
answer. He repeats in a different tone.] Rita, he doesn't 
know anything about you, does he? 

Rita 
No — I mean — not ver' much — 

Tom 
What—? 

Rita 

Jus' a leetle — I tell 'im a leetle vone night in Paris — 

Tom 

You don't mean — what you've told me? 

Rita 

Yes, an' so if ve go upstairs now an' — 

Tom 

[Interrupting.] But you said just a minute ago that I 
was the only man you'd ever told — because I was the 
only man you'd ever loved! 

Rita 

[Frightened.] I 'ave forget — oh, it vas two — t'ree 
years ago — 

Tom 
[Thinking.] But wait! He's talked to me very openly 



ACT II 137 

about you — why, only last Saturday when I went to see 
him about the new gymnasium — 

Rita 

Vhat — ? 

Tom 

He used every possible argument — except that one. 
Why, he never said so much as a word against — 

Rita 
I know. I — I ask 'im not to. 

Tom 

[More and more surprised.] You — ? But — but he 
woiildn't take your side where Fm involved — why, it's 
incredible! 

Rita 

Oh, yes, 'e vould — you do not know! 

Tom 
But why ? 

Rita 

[Fighting for time.] Vhy — ? 

Tom 
Yes — there must be a reason. 

Rita 

Can you not guess? 

Tom 
No. 



138 ROMANCE 

Rita 

It is because — oh, long ago, you on'erstan' — 'e was 
foolish enough to like me — jus' a leetle — 

Tom 
What — ? 

Rita 

[Quickly.] It was not my fault — I cannot 'elp it vhen 
peoples — 

Tom 

[Interrupting.] When was this? 

Rita 

Oh, two — t'ree year ago! I did my bes' to stop 'im 
— but it vas not easy, I tell you dat! 

Tom 
[Interrupting.] Did he want you to marry him? 

Rita 

[Trying to speak lightly.] No — no — it was nodings — 
nodings at all — 'e jus' like to sen' me flowers an' 'ear me 
sing an' — 

Tom 

[Interrupting.] How long did his — attentions last? 

Rita 
I — I dunno. 

Tom 

[Going towards her.] You don't mean he's in love with 
you still? 



ACT II 139 

Rita 

[With abandon.] Oh, don't talk about dat any more! 
Jus' take me in your arms an' kiss me till — 

Tom 

[Internipting.] And you knew he felt that way — you 
knew it all this time? 

Rita 
Yes — I knew — 

Tom 
Then why didn't you tell me? 

Rita 
I did not t'ink you vould — like it. 

Tom 

Like it! Why, it was all right! He can't help loving 
you, I suppose. There isn't anything to conceal — [Stop- 
ping suddenly.] Rita, there isn't anything to conceal? 

Rita 
Vhat — ? 

Tom 
Tell me there isn't — tell me — 

Rita 
[Retreating.] I don' know vhat you mean — 

Tom 
Quick — for the love of God! 



I40 ROMANCE 

Rita 
Don' look at me — 

Tom 
Not Mr. Van Tuyl? Not he — 7 

Rita 
[Terrified.] Please — oh, please — 

Tom 
[With a sudden cry.] Oh — ! 

Rita 
[Frantically.] It is not true! I say it is not true! 

Tom 
What — ? 

Rita 

Dere 'as been nodings — you make vone terr'ble mees- 
take — 

Tom 
How do I know? 

Rita 

[Striking her breast.] I tell you — // 

Tom 
But you kept back something before — 

Rita 
No — 

Tom 

How do I know you're not doing it again? 



ACT II 141 

Rita 
No — I am not! I tell you I am not! 

Tom 

[Pulling himself together.] Ssh — be quiet! They'll hear 
you upstairs. [His voice shaking.] Now we must be calm, 
both of us, — quite calm and sensible. We must settle 
this matter here, once and for all. If it's true, I — I beg 
you — for both our sakes — as you will answer on the 
Day of Judgment — I beg you to tell me now. [Pause.] 

Rita 

If I say "Yes, it is true!" vould you — vould you again 
forgive me? 

Tom 
[With a cry.] Ah — ! then it is — it w — 

Rita 

[Wildly.] No — no — 

Tom 
Will you swear it? 

Rita 
Yes — I vill swear. 

Tom 
Put your hand here — on my mother's Testament. 

Rita 
[Obeying him.] So? 

Tom 
And look me in the eye and say after me — 



142 ROMANCE 

Rita 

Yes? 

Tom 

"I swear there has been nothing wrong between Mr. 
Van Tuyl and me." 

Rita 

[Faintly.] Madonna — / 

Tom 
[Harshly.] Swear it! 

Rita 

[Opening her eyes.] Vhat — ? 

Tom 
You won't — ? 

Rita 

"I svear — dere 'as been" — vhat you say? — "nodings 
wrong betveen — Meestaire Van Tuyl — an' me — " 

[She sways a little^ 

Tom 

[With a sob of relief, as he catches her in his arms.] Oh, my 
darHng — forgive me — I've been a brute to doubt you — 
I'm — [Suddenly.] What's the matter? Rita — Rita ! 
[Her head has fallen. She has fainted. He carries her over 
to the settee, lays her on it, runs to the desk, pours out a glass 
of water, returns with it, kneels by her side and tries to make 
her drink] My poor little girl — there — it's all right — 
I'm never going to bother you again — forgive me — oh, 
my darling, just forgive me this once — [She is gradually 
reviving under his caresses and endearments] I was out of my 
head — I didn't know what I was saying — please — 



ACT II 143 

please — [She sits up dizzily.] What's the matter? Aren't 
you going to speak to me — ? [She rises unsteadily to her 
feet.] Rita — ! [He takes her hand.] 

Rita 
Let me go ! 

Tom 

But, darling, just listen to me for a moment — 
Rita 

[Interrupting.] I vant to go avay — you don' believe 
me — you don' love me — 

Tom 

Yes, I do! I love you more than anything in the 
world — I love you and I'm going to marry you — 

Rita 

No — no — I vill never marry you now — never — 
never any more — 

Tom 
Rita — ! 

Rita 

[With passion.] Vhy you make me to svear dose t'ings? 
Vhy you make me — ? 

Tom 
Forgive me, dear — please — 

Rita 
I vill never forgive you. Good-bye. 

Tom 
No, wait! [He stops her at door, taking both her hands.] 



144 ROMANCE 

Rita 

I say — good-bye! [He stares into her face. Her eyes 
drop.] Oh, let me go please! I mus' return to de 'otel — 
it is so late — you know I alvays sleep before I sing an' — 
[Suddenly.] Vhat for you look at me like dat? 

Tom 

[Trying to control himself.] I believed you when you 
swore just now — I want it understood that I believed 
you — 

Rita 
VeU? 

Tom 

So — if you don't mind — I think — I think — I'll ask 
Mr. Van Tuyl to come down here — 

Rita 

Vhat — ? 

Tom 

And then we'll tell him — we're engaged. 

Rita 

[In a sudden fright.] Ah, no — no — don' do dat — 
please — I ask you — jus' for me — vait a leetle vhile — 

Tom 

[With a sudden wildness, pulling the hell-rope violently.] 
Not a minute! Not a second! 

Rita 
Please — 

Tom 
I won't! 



No — no — 

Oh, my God — 
{Pause. A knock,] 
Come in ! 
[Enter Giles.] 

You rang, sir? 



ACT II 145 

Rita 
Tom 



Giles 



Tom 



Yes. Ask Mr. Van Tuyl to step down here, please. 
Tell him I'll keep him only a moment. 

Giles 
Very good, sir. 
[Exit Giles.] 

Rita 

[As the door doses.] Ver' veil. You vill tell him alone. 
I viU not stay. 

Tom 

[Before door.] You've got to. 

Rita 

Vhat — ? 

Tom 
I won't let you out. 

Rita 
Remembair my performance — 

Tom 

[Snapping his fingers.] 1 don't give that for your per- 
formance! 



146 ROMANCE 

Rita 

'E come — I 'ear 'im — [In desperation.] 0, let me go — 
let me go! 

Tom 

[As if struck.] Rita — don't tell me you're afraid — 
Rita 

Go avay — let me see 'im first — for jus' vone leetle 
meenute — it vill be all right — 

Tom 

[His suspicions returning^ I won't — 

Rita 

[Wildly.] Ver' veil den. I don' care! [She sits down at 
the piano and bursts into a Chopin polonaise. The door 
opens and Van Tuyl appears.] 

Van Tuyl 

[Genially as he enters.] Ah — ! Still here? We thought 
you'd — [Noticing Tom's face.] Why, what's the matter, 
Tom? [Rita stops playing and sits at the piano, looking at 
the two men.] 

Tom 

[Trying to speak naturally.] Nothing, sir. I — asked 
you to come down because — I wanted you to be the first 
to know of my good luck. 

Van Tuyl 
Good luck? 

Tom 

Yes. Madame Cavallini has been good enough to — 
[Briefly.] We're engaged. 



ACT II 147 

Van Tuyl 

[In an expressionless voice.] Engaged — ? 

Tom 

[Harshly.] Yes — engaged — engaged to be married — 
this lady and myself. [Pause.] 

Van Tuyl 
[Calmly.] My dear boy, I congratulate you. 

Tom 
[Choking.] What — ? 

Van Tuyl 

I congratulate you. Madame Cavallini stands alone, as 
I have always said. And while I confess I am — a bit sur- 
prised, I am flattered — [Turning to her with a bow.] that 
she has chosen one of my friends and countr3m[ien for 
this — great honor. 

Tom 

Then it's all right — ? You approve — you give us your 
consent? 

Van Tuyl 

[Turning to him.] Consent? 

' Tom 

Yes — for the parish, I mean — represented by yourself 
as senior warden and chairman of the vestry. 

Van Tuyl 

Most certainly, my dear boy. You know you can always 
count on me to wish you every happiness. 



148 ROMANCE 

Tom 
[Baffled.] Why, you talk as if you liked it — 

Van Tuyl 

[Not understanding.] I don't quite — 

Tom 

[Interrupting.] All I can say is, you must have changed 
your mind since Saturday. 

Van Tuyl 
Since Saturday? 

Tom 

Why, don't you remember warning me with tears in 
your eyes to keep away from this — this lady? 

Van Tuyl 
[Smiling.] Ah, that was Saturday! 

Tom 

You said we were perfectly unfitted for life together — 
we were as far apart as the poles through birth and train- 
ing and career — 

Van Tuyl 

[Deprecating.] Oh, don't bring up any foolish statements 
I — 

Tom 

[Interrupting.] You even went so far as to — to mention 
certain — flaws in Madame Cavallini's character. 

Van Tuyl 
My dear Tom! 



ACT II 149 

Tom 

[Going on.] Her temper — selfishness — an absence of 
stability — 

Van Tuyl 

Really, my boy, you mustn't hold me to account for — 

Tom 

[Interrupting.] And now, sir, I — I want to ask you 
here, before us both, if you were absolutely frank on 
Saturday — 

Van Tuyl 
What's that? 

Tom 

[His voice almost breaking.] If there were any argument 
against my — my attachment which you did not see fit to 
offer at the time — 

Van Tuyl 
Why, Tom, I don't understand — 

Tom 

If there was, sir, tell it now — tell it for God's sake — 
or else forever after hold your peace! [Pause.] 

Van Tuyl 

I don't see why you're so excited, but if it gives you 
any satisfaction to know I said all I could on Saturday — 

Tom 

[Quickly.] You held nothing back? 



ISO ROMANCE 

Van Tuyl 

Why, no, of course not! What's the matter, Tom? 

[Tom turns away in silent agony. Rita makes a sudden 
movement. Van Tuyl suppresses her with a glance. A mo- 
ment's pause. Tom faces them again, controlling himself 
with difficulty.] 

Tom 



Sit down, sir, please. 
[Doing so.] Well? 



Van Tuyl 



Tom 



[With difficulty.] I — I want to apologize beforehand for 
what I'm going to say. I know I'm acting outrageously — 
but — I can't help it! [Van Tuyl makes a movement to- 
wards him.] No, wait! You're my best friend, Mr. Van 
Tuyl — [To Rita.] and you're the woman I want to make 
my wife. So I — I'm sure you'll both of you be sym- 
pathetic and make — allowances for me. 

Van Tuyl 
[Heartily.] Of course, my boy, of course! 

Tom 

[Still with difficulty.] Madame Cavallini has been very 
frank and open with me, sir. She's just told me — about 
certain portions of her career — and of course, knowing as 
I do, how hard it is for girls when they're poor and young — 
and alone — why, I should be only too glad to tell her it's 
all right and blot it from my memory forever — but — 
but — [He pauses, unable to go on, then rises, gripping the 
edge of the desk with both hands and leaning over it, haggard 



ACT II 151 

and terrible.] Before I can do that, there's one thing I've 
got to be sure of. 

Van Tuyl 
Yes, Tom? 

Tom 

It seems — you've been an — an admirer of hers for 
some time — {As Van Tuyl glances at her involuntarily.] 
For God's sake, don't look at her now! {Controlling himself.] 
And what I've got — to be sure of is that — there never 
has been anything — you know — between you two — 

Van Tuyl 
What — ? 

Tom 

{Going on very quickly.] I've asked her and she's denied 
it — and I beheve her — impKcitly, of course — but if — 
if you'll be good enough to deny it, too — oh, merely as a 
matter of form! — why, I — I shall be much obliged. 
Well? 

Van Tuyl 

{After a slight pause.] There's one thing I'm not going 
to deny, and that is my very deep and very true affection 
for Madame Cavallini. {Looking at her.] It is a sentiment 
none the less deep and true because it has lived for years 
with no response from her, and I am proud of my hope 
and my belief that it will continue so long as I'm alive to 
cherish it. {Turning to Tom.] As for the rest of your ques- 
tion, Tom, when you're yourself again you'll agree with 
me that it deserves no answer. I don't know how such 
thoughts have wormed their way into your mind, but one 
thing I do know, and that is the time will come when you 
would give your right hand never to have let them pass 



IS2 ROMANCE 

your lips. Good-bye — [To her.] Good-bye, madame — I 
offer you the best of wishes — [He is turning towards the 
door when Tom stops him.] 

Tom 

[Seizing his hand.] No, wait — you shan't go until I've 
begged your pardon — I've been a fool, sir — a perfect 
fool, but if you can, I want you to forgive me! 

Van Tuyl 

Don't you think, my boy, you'd better ask Madame 
Cavallini's pardon first? 

Tom 

[Turning to her.] Rita, darling — I don't know just what 
to say — but I think if you forgive me again — I can 
promise I'll never — never — oh, you do forgive me, 
dear, don't you? 

Rita 

[Suddenly pulling herself away.] No — no — I cannot! 
It is too much — 

Tom 
What? 

Rita 

[Straightening herself up and looking at him.] 1 love you — 
I mus' spik de truth — 

Van Tuyl 
Be quiet! 

Rita 

[To Tom.] It is all Hes vhat ve 'ave said — all lies — 
lies! 



ACT II 153 

Tom 

[Crying aloiid.] No — no — 

Rita 
I vas 'is mistress till de night I meet you! 

Tom 
Not Mr. Van Tuyl — not — [He chokes.] 

Van Tuyl 
Tom, listen to me for one minute — 

Tom 
[Turning to Mm.] Liar — thief — 

Van Tuyl 

For God's sake, Tom, don't — 

Tom 

\With a cry.] A-ah! [He rushes at Van Tuyl to strike 
him down, hut she stands before him.] 

Rita 

[Gasping] 'E lied for me — I tell you 'e lied for me — 
[Pause. Tom stands fighting for his control. He regains it, 
exhausted, and turns to the desk.] 

Tom 

[In a whisper.] Please go — both of you. [He stoops 
to pick up the little Testament which has dropped to the floor, 
brushes it involuntarily, and puts it on desk.] 

Van Tuyl 

Tom, I'd have given everything I have in the world to 



154 KOMANCE 

have spared you this. I want you to remember that — if 
you can. [Coming towards him.] Tom, I — 

Tom 
Don't! 

Van Tuyl 

[Half to himself.] Very well. Good-bye. [He goes out 
quickly. Tom sits down slowly in his desk-chair^ 

Rita 

[After trying once or twice to find her voice] Meestaire — 
Meestaire Tom — 

[He shudders at the sound. She goes to the mirror, takes 
of his mother's earrings and necklace, kisses locket, and lays 
them on mantelpiece. Then she puts on her coat, picks up her 
muf and monkey from chair where she left them earlier in the 
act.] 

Rita 

[Softly to the monkey.] Basta — hasta — poverina miaf 
[She stands looking at Tom. He makes no sign. Then at 
last, very simply.] T'ank you for 'aving loved me. [She 
drops her veil and goes out. As he hears the door close, 
he has a few seconds of gasping for breath. Then, burying his 
face in his arms, he breaks into silent convulsive sobs. From 
far away comes the sound of the little hand-organ. It is still 
playing the old waltz.] 



THE CURTAIN PALLS 



ROMANCE 
ACT ni 



ACT III 

Scene: Mme. CavalUni's apartment at the Brevoorf House, 
that night, after the performance. At the left are doors 
leading to the hall. At the right are two long windows, with 
a tall old-fashioned gilt mirror and low consol table between. 
At the back — towards right — is an arch leading to the 
bed-room, covered with drawn portieres. At left, a smaller 
door. Opposite the windows are the fireplace and mantel. 
A fire is burning. A grand piano is covered with a confu- 
sion of music, hats, clothes, etc. Towards the centre are 
a couch and a table. The couch is strewn with various 
clothes, wigs, costumes, etc. Between the two windows is a 
perch on which sit, side by side, two stately scarlet macaws. 
Near the fire is the monkey's cradle — a charming cloud of 
lace and pale blue satin. There are several open trunks 
lying about the room in various stages of completed packing. 
Clothes, of all descriptions, are strewn about in the greatest 
disorder everywhere. The whole ejffect of the room is 
luxurious, yet filled with confusion and a sense of Bohemian 
life. 

When the curtain goes up, it is night. The gas is lit. Before 
the fire squats Signora Vannucci — a fat, untidy old 
Italian woman with a moustache and long earrings, dressed 
very gaily, her skirts pinned up, a pair of old soiled pink 
satin slippers on her feet. She is telling her fortune with a 
pack of greasy cards, stopping every now and then to turn 
and stir two saucepans which are cooking over the fire. 

Signora Vannucci 
{To herself \ Dio mio! Non importa — riproviamo — I 
157 



iS8 ROMANCE 

[She gives the saucepan a stir, shuffles, and deals.] Picchel 
II nove difioril Cosa ci hanno queste bestie di carte! — Aht 
II fante di cuori! Forse vuol dire un' amante — chi sa? 
II died di quadri — / A-ha-he! Posso ancora esser ricca — 
[She laughs to herself. There is a knock at the door.] Avantil 
[Adolph comes in. He is an old German waiter, carrying 
a tray with plates, napkins, glasses, bowl of salad, etc.] You 
gotta da garlic — yes? 

Adolph 
[Putting down tray.] Two liddle beeces. 

SiGNOEA VaNNUCCI 

Cut dem ver' small an' put dem in vhen you maka da 
salad. 

Adolph 

Madame, she vill be hungry when she back comes from 
de opera. 

SiGNORA VaNNUCCI 

She eata nodings before she go — she dreenka a leetle 
vine an' coffee, dat is all. So I come back qveeck an' 
maka myself da macaroni wid da tomat' sauce — she 
alvays lika dat! 

Adolph 

Ach! no great artiste vill eat pefore she sing! Do I not 
know? Have I not de first tenor of de Royal Court Opera 
of de city of Steichenblatter been? Do I not remember 
how I feel vhen — 

SiGNORA VaNNUCCI 

[Gloomily interrupting him.] You 'ave forgetta da cheese. 



ACT m 159 

Adolph 
[Crushed.] Du lieber Gott! 

SiGNORA VaNNUCCI 

\With a retrospective smile.] Ah, vhen I was prima donna 
at Bologna an' maka my dehut as Linda di Chamonix in da 
great, da bee-eautiful, da gala performance — an' 'is — 
'ow you say — 'is eccellenza da duca di Modena, 'e stan' 
an' clappa de 'an's an' say so loud — "Bravo, Vannucci! 
Bravo ! Bravissimo ! " — 

Adolph 
[Interrupting.] Your sauce, it burn. 

SiGNORA. Vannucci 

[Rushing to fire] Madonna santa proteggeteci! [She stirs 
the sauce vigorously.] 

Adolph 

[Sadly as he mixes salad.] Ach — so! De good old 
days — dey are all gone! 

SiGNORA Vannucci 

[Stirring.] Da opera now — vhat is eet? Vone beeg 
noise! 

Adolph 

Dis Faust an' Mignon — 

SiGNORA Vannucci 
[Covering her ears.] Impossihili! 

Adolph 
Schreklich — / 



i6o ROMANCE 

SiGNORA VaNNUCCI 

Orribilif 

Adolph 
Ungeheuer — ! 

SiGNORA VaNNUCCI 

[Kissing her hand.] Ma La Favorital 

Adolph 
Der Freischutz! 

SiGNOEA VanNUCCI 

Bellissima! 

Adolph 
Wundersckon! 

SiGNORA VANNUCCI 

Celestialel 

Adolph 
Kolossal — / 

SiGNORA VaNNUCCI 

[Sighing.] But ah! who now gotta da voice to seeng dem! 

Adolph 
[Scornfully.] Mario — ? Bah! 

SiGNORA VaNNTJCCI 

[Loftily] Grisi — ? Pouf! 

Adolph 
Giuglini — ? Ein schwein — / 

SiGNORA VaNNUCCI 

La Patti — ? Un puke — / 



ACT m i6i 

Adolph 
La Cavallini — ? 

SiGNORA VaNNUCCI 

Ah, si — la Cavallini! 

Adolph 
[Patronizingly.] She 'ave a leedle somet'ing — 

SiGNORA VanNXJCCI 

You bet my life she 'ave! Ah! sometime vhen I stan' 
in de veengs an' 'old 'er shawl an' leesten — I t'ink it is 
myself again come back from long ago! 

Adolph 

Ach, Gottl 1, too, haf treams! An' vhen I my half 
dollar pay an' de stairs up climb an' de orchestra begin — I 
shut my eye an' yet vonce more again I am in Steichen- 
blatter — 

SiGNORA VaNNUCCI 

[Catching his enthusiasm.] Si — sil Da box vhere seeta 
da duca di Modena — 

Adolph 

I see again the tears upon de ladies' cheeks — 

SiGNORA VaNNUCCI 

Da "Bravos!" of da bee-eautiful young men — 

Adolph 
The opera — it is Norma — I am Pollio — 

SiGNORA VaNNUCCI 

[Clasping her hands.] Ah Norma — / 



i62 ROMANCE 

Adolph 

[With the bottle of oil in one hand.] De great duet — act 
dree — it come at last! [He sings softly in German.] 

SiGNORA VaNNUCCI 

[Rising from fire with spoon still in hand.] Piil forte! 
Cosil Or a! Crescendo! [They sing the duet together in the 
very old-fashioned operatic way, tremendously in earnest. At 
the closing high note they fling themselves violently in one 
another's arms. Just here a small bellboy in buttons, enters 
from right, whistling between his teeth. He carries a card- 
tray, and stops, amazed at the sight.] 

The Bellboy 
Where's the madam? 

SiGNORA VaNNUCCI 

[Kneeling by the fire and stirring.] She 'ave not yet re- 
turn. 

The Bellboy 

[Confidentially.] Say, wotter ye t'ink she do if I asked her 
t' put her name in me autograph album? 

SiGNORA VaNNUCCI 

Your — vhat? 

The Bellboy 

[Proudly.] Me autograph album ! [Taking it from breast.] 
I got Sam McGuire, the famous murderer, an' Edwin 
Booth, the celebrated actor, not t' mention the lady author 
o' "Uncle Tom's Cabin" an' — 



ACT m 163 

SiGNORA VaNNUCCI 

[Impatiently.] Go vay! Go vay! Vhat for you come 
an' talk so much an' — 

The Bellboy 

Hold yer horses, old lady! 'Tain't no use gettin' mad! 
There's a gent downstairs a-callin' on the madam — see? 
[He holds out the salver with card.] 

SiGNORA VaNNUCCI 

[Irritably.] Giva me da card — qveeck, leetle animal ! 
Qveeck, I say! 

The Bellboy 
Quit callin' me names, ye big Eyetalian rag-bag, or I'll — 

Adolph 

[Interrupting.] Ssh! Keep still! I vip you good! [The 
bellboy hands her salver.] 

SiGNORA VaNNUCCI 

[Reading card.] A-ah! It is milor! 'E 'ave come back! 
Santi benedetti! [To the bellboy] Go — breenga 'im in! 
[To Adolph.] An' leesten, my frien', a bottle of champagne! 

Adolph 
\With tray, at door.] Champagne? 

SiGNORA VaNNUCCI 

[Joyously.] You bet my life ! Da besta you got! 
[Adolph goes out. She rises, puts card on piano, and begins 
unpinning her skirts, etc. The bellboy profits by this to steal 



i64 ROMANCE 

some grapes and a cake from the table. She turns and sees 

him.] 

Ah,, demonietto! [She rushes at him with hand upraised.] 

The Bellboy 

Rag-bag! {He escapes. She hastily attempts to tidy the 
room, closes a couple of trunks, etc. Then, singing an incred- 
ible cadenza, she puts on a scarf, sticks an ostrich feather in 
her hair and is admiring the result in the long mirror, when 
there is a knock at the door to the hall.] 

SiGNORA VaNNUCCI 

\With a long trill ^ Avanti! [The door opens and Van 
Tuyl appears.] 

Van Tuyl 

[Entering.] Well, signora! I haven't seen you for some 
time, have I? You're younger and more beautiful than 
ever! 

Signora Vannucci 

[Shaking hands.] Ah, milor — you maka da joke as al- 
vays ! But I don' care — I am so full of joy because you 
'ave come! 

Van Tuyl 

Thanks very much. [Looking about.] How's the menag- 
erie? [To the parrots.] Remember me, old lady — eh? 

Signora Vannucci 

Dey are full of love for milor — ecco! See! Manrico, 'e 
visha to keess 'is 'and! 

Van Tuyl 

Bite it, you mean. [Going to fire.] Where's Adelina — ? 
[Seeing the cradle.] Oh! 



ACT m i6s 

SiGNORA VaNNUCCI 

She 'ave jus' eata vone greata beeg suppair. 
Van Tuyl 

[Looking into cradle.] Six olives — strawberry jam — a 
few hothouse grapes — 

SiGNORA VaNNUCCI 

[Rapturously.] An' da cupa of chocolate! Ah, milor — 
'e 'ave recolleck ev'ryt'ings! 

Van Tuyl 

[Seeing the saucepans by the fire.] What's that you're 
cooking — not your famous macaroni? 

SiGNORA VANNUCCI 

It is for madame. She eata nodings alia da day. An' 
she looka so vhite an' seeck — ah, Madonna! I gotta vone 
great beeg fear! 

Van Tuyl 

How did she get through the performance? 

SiGNORA VANNUCCI 

Milor vas not dere — ? 

Van Tuyl 
No. 

SiGNORA VanNUCCI 

'E 'ave not 'eard — ? 

Van Tuyl 
No. 

SiGNORA VanNUCCI 

{Volubly. ] Ah, she maka — vhat you say? — un triomjo 



1 66 ROMANCE 

enorme! It maka me t'ink of dat so splendid night I sing 
Lucrezia Borgia an' 'is Excellenza da duca di Modena, 'e — 

Van Tuyl 

[Interrupting.] Yes, I remember. [Looking at his watch.] 
Madame is late. 

SiGNORA VaNNUCCI 

She say addio to Signor Strakosch an' de oder artistes an' 
receive da present — 

Van Tuyl 
Really? 

SiGNORA VaNNUCCI 

[Nodding.] Da pin vid da big rubee, an' de bracelet vid 
many pearl, an' ah! Madonna! — da di'mon' crown from 
alia da signora of New York ! [During the following she 
works at the packing and finally finishes and shuts one more 
of the trunks^ 

Van Tuyl 

[Not paying much attention] It's true — the city's gone 
quite mad. 

SiGNORA VANNUCCI ' 

Dio mio! Vhen I recolleck dat tomorrow ve go so far 
avay from dis country an' milor an' all da mon' — it maka 
my 'eart feel jus' like 'e vill break! 

Van Tuyl 
[Smiling] Poor little heart! 

SiGNORA VaNNUCCI 

\ An' vhen do ve see milor again? 



ACT III 167 

Van Tuyl 

Soon, I hope. But in the interval, signora, I want you 
to enjoy yourself, so — [Putting his hand in his pocket and 
taking out his wallet.] 

Signora Vannucci 
[Sidling up to him.] Oh, milor ^ — ! 

Van Tuyl 

[Selecting a hill.] So here's a Httle something just to re- 
mind you that — 

Signora Vannucci 

[Interrupting.] Oh, no, milor — you already giva me so 
much — no — no — it is imposs' — [She holds out her hand 
greedily.] 

Van Tuyl . 

[Putting hill in hand.] Nonsense! As friend to friend! 
There! You can change it when you get to Naples. 

Signora Vannucci 

[Enthusiastically, as she puts hill in stocking.] Ah, milor — 
'e is so good ! Jus' like 'is Excellenza da duca di Modena — 

Van Tuyl 

[Interrupting^] Iheli&weyou. [Suddenly. ]Wsi\t\ What's 
that? 

[There is an instant's pause. From far away come the 
distant strains of " Yankee Doodle," played on a brass hand. 
During the following scene the music grows nearer, and he- 
neath it can he heard the vague, confused noise of many people 
shouting.] 



i68 ROMANCE 

SiGNORA VaNNUCCI 

[After listening a moment.] Da music — [She goes quickly 
to window, opens it, steps out on balcony and looks up street.] 

Van Tuyl 
[Following her.] A brass band ! [He stands by window.] 

SiGNORA VaNNUCCI 

[As the music grows louder.] Santi buonissimil Vhat is 
dat dey play? 

Van Tuyl 

[Opening the window wide and joining her on the balcony.] 
"Yankee Doodle!" 

SiGNORA VaNNUCCI 

[Suddenly.] Ah! Dey come! Dey come! 

Van Tuyl 

[As the sound increases.] Where? [He leans out, too.] 
Fourteenth Street! That's en route from the Academy — 

SiGNORA VaNNUCCI 

[Who grows more and more excited as the scene proceeds.] 
Ecco.f See — ! 

Van Tuyl 

Torches — ! By Jove, it's a regular Republican rally! 

SiGNORA VaNNUCCI 

More peoples — an' more — an' more an' more dey 
come! 

Van Tuyl 

Every fellow with his hat off — [Shivering.] and zero 
weather, too! 



ACT III 169 

SiGNORA VanNUCCI 

[Pointing.] See — de peoples in de vindows! Dat so fat 
man — vhat is dat 'e say? 

Van Tuyl 

[Raising his voice above the uproar.] I can't hear! 
[The music stops.] 

SiGNORA VaNNUCCI 

[At a loud roar of "Bravo!" "Cavallini!" "Hurrah!" etc.] 
Ah ! She come — she come ! [She claps her hands and leans 
far out.] 

Van Tuyl 

[Leaning out, too.] Where? 

SiGNORA VaNNUCCI 

[Pointing.] Dere — do you not see da carriage? 
Van Tuyl 

But where's the coachman — where are the horses — ? 
Good Lord! if those young fools aren't dragging it them- 
selves! 

SiGNORA VaNNUCCI 

Ah! vhen I was prima donna at Bologna an' singa 
Lucrezia Borgia for — 

Van Tuyl 

[Interrupting and chuckling to himself.] In evening 
dress — without any overcoats! By Jove, what a lark! 

SiGNORA VaNNUCCI 

[Suddenly.] Ah! Eccola la! Bellaza mia! Come d bella! 
You see 'er — yes? 



170 ROMANCE 

Van Tuyl 

No — that tall young devil's in the way! [Suddenly.] 
Ah, there she is! [To himself.] By Jove! By — Jove! [He 
stares spell-bound. The band, now much nearer, slowly begins 
"Way Down Upon the Swaunee Ribber." 

The torchlight illumines the two figures on the balcony. 
The procession now is almost underneath them. The music 
stops. There is a burst of cheering. Signora Vannucci waves 
her handkerchief wildly.] 

Signora Vannucci 

Evivva! Evivvaf Brava Cavallini! Brava regina! Ecco 
mi allafinestra! Guar da alia tua povera vecchia Vannucci — 
[In delight.] Ah! Ecco! Cosi va bene! [She laughs and 
waves. To Van Tuyl.] She look up — she see us! 

[Van Tuyl takes off his hat and bows in a very stately way. 

Suddenly the glitter of a rocket is seen in the street outside.] 

Signora Vannucci 

Ehi! Ehi! Cosa fate? [Another rocket goes ofif and the 
red glow of Bengal light is seen from the street below, lasting 
for a monent and then dying away.] Ah! Maledetti! [She 
clutches Van Tuyl and crosses herself.] 

Van Tuyl 

[Reassuringly.] It's all right — those fellows in the cor- 
ner are setting off some fireworks, that's all. [There is a 
great cheer from the crowd.] 

Signora Vannucci 

She come — she descend from da carriage — Look ! look 
'ow da young men kissa 'er 'and! [There are more rockets 
and the band begins to play "Kennst Du Das Land." From 



ACT III 171 

below is heard a volley of shouts and cheers and laughter.] 
Dere! Up-a da step! So — ! At las' she is inside — 
[Coming hack quickly into the room.] Qveeck! Shuta da 
vindow — dis room is all dam' col' — [He steps inside and 
closes the window. The fireworks are still seen, but the music 
and crowd are heard more faintly. Signer a Vannucci bustles 
about, putting a new log on the fire, adjusting furniture, etc.] 
So! Dere! £cco/ Dat is right! Vill milor 'elp me vid dis 
chair — ? an' da table — more near da fire — Lika dat! 
[Suddenly.] Madonna mia! I 'ave forget — [She quickly 
pidls back the portieres over arch at back, revealing the bed- 
room. There is a canopied bed, turned down, with elaborate 
pillows, etc. A small lamp burns on its head, casting a warm 
glow. On the bed is a nightgown case, heavily embroidered. 
A luxurious negligee of fur and velvet lies across a near-by 
chair, with a pair of slippers beneath. Signora Vannucci 
picks them up and comes back immediately into the sitting- 
room. She hangs the robe on a chair close to fire and puts the 
slippers where they, too, will warm.] Milor, 'e recoUeck dis 
robe — ? 

Van Tuyl 
[Helping her arrange it.] Millefleurs! 

Signora Vannucci 

[Laughing.] Ah, vhat good time milor 'e giva us dere! 
I vish dat — 

[There is a knock at the door and before anyone can answer, 
it is opened, and Adolph appears hurriedly, carrying a 
champagne bucket.] 

Adolph . 

[Excitedly.] You haf hear — ? You haf seen? Look 
dere ! [He points to fireworks outside.] Mein Got im Himmell 



172 ROMANCE 

[He puts down the champagne by the table. The bellboy bursts 
in excitedly.] 

The Bellboy 

\With a long whistle.] V^hevf — ! Holy cats! This town 
ain't seen the like since the Prince o' Wales was here! 
[There is an especially brilliant effect of fireworks outside.] 
Jee-rusalem — ! [He rushes to the window. The Head 
Waiter, two subordinates and two hall boys in uniform come 
in, one after the other, talking among themselves and laden 
with ^^ floral offerings " of all kinds. There are wreaths, "set- 
pieces " in the form of harps, hearts, etc. One large bird with 
"Nightingale" worked in white roses upon red, etc. Some 
have the American and Italian colors attached, others have 
sentiments such as "Say Not Good-bye,'' "Our Mignon," 
"Addio," etc.] 

One Waiter 

Ouvrez la parte! 

Another Waiter 

Oui — ne voyez-vous pas queje suis occupS — ? 

Head Waiter 
Otlfaut-il poser ces engins-ci, madame? 

SiGNORA VaNNUCCI 

Sur le piano — bien! c'est gal Dis-donc — et ce que tu as 
sur la table — [To Van Tuyl.] Are dey not bee-eautiful? 
Santi benissimi! [To the waiters.] Va doucement, idiot — / 
Tu vas Vabimer — / Penchez celle-la a cote de la chaise — 

Head Waiter 

Vite! Vite! Espece d'un escargot — / Madame va venir — 
toute de suite! Ah,lavoila — / Comme elk est ravissante — ! 



ACT HI 173 

M. Baptists 

[Outside.] Ah, madame, nous sommes infiniment heureux 
de prendre part dans le triomphe d'une artiste si celebre — 
[As he has spoken, he has entered and stands respectfully on 
one side of the door, bowing and rubbing his hands. He is the 
hotel proprietor and wears a frock-coat.] 

Rita 

[Entering.] Merci, monsieur — merci mille fois — vous 
ties trap aimable — [To Signora Vannucci in a whisper.] 
Per Vamor di Dio, mettili fuori! Non posso piu — [She is in 
gorgeous evening dress, glittering with jewels. On her head 
is a crown of diamonds. Her cloak is purple. In one hand 
she carries a wreath of laurel, tied with a golden ribbon. With 
the other she holds a great armful of white roses. She is very 
pale and exquisitely gracious. The music comes to an end 
just after her entrance. There is a renewed burst of cheering 
outside.] lis sont toujours la? Ecoutez — qu'est-ce qu'ils 
disent? 

M, Baptiste 

C'est tres confus, madame — [To the bellboy.] Eh, you! 
Dose peoples out dere, vhat is it dey say? 

The Bellboy 

[Shrilly.] They're yellin' fer a speech! 
[There are indeed heard loud cries of '^Speech!" "Just a 
little one!^' "Come on!" etc.] 

M. Baptiste 

[To Bita.] Si madame etait assez aimable de leur addres- 
ser — 

Rita 

[Drawing back.] Ah, non — non — c'est impossible — 



174 ROMANCE 

M. Baptiste 
Trois paroles, vous savez — 

Rita 
V raiment, monsieur — je suis sifatiguee — 

The Bellboy 
[Yelling inside.] They won't go way! 

M. Baptiste 
Je vous prie, madame — pour Vhonneur de Vhotel — 

Rita 

[In a flash of petulance] Non. Je refuse — entendez vous? 
Je refuse absolument! [Turning away.] Ah, par example — 
c'est trap fort! 

SiGNORA VaNNUCCI 

[Coaxingly.] Ti prego, cara. 
Rita 

[Stamping her foot] Dio bono! Per che cosa mi prendete? 
[There is a renewed outburst from the crowd.] 

Van Tuyl 

[Speaking for the first time.] Madame, your public's call- 
ing you. 

Rita 
Vhat — ? 

Van Tuyl 

[Simply.] You must obey. [Pause.] 

Rita 

[In a low tone] Open de vindow. 



ACT III I7S 

[The bellboy does so, the noise is heard very much more 
clearly. She lays down her wreath, then goes slowly to the 
window.] 

M. Baptiste 

Ah, que madame est bonne — 

[Rita steps out on balcony. There is a great cheer as she 
appears, the red Bengal light, blazing up again, falls fitfully 
upon her figure. There is the hiss and glare of many rockets 
set of simultaneously. The band plays a fanfare — the gen- 
eral effect is a blare of light, noise and splendor. She stands 
in the midst of it all, — bowing, smiling and holding up her 
hand for silence. In the room behind her everyone is applaud- 
ing. Baptiste utters an occasional '^ Bravo! ^^ and Signora 
Vannucci ostentatiously wipes away her tears. Then quite 
suddenly there is a silence. A man's voice is heard yelling 
^'If you don't feel like talkin' — sing!" There is a burst of 
laughter, cries of "Shut up!" "Give her a chance!" etc., 
and silence again falls. A little pause.] 

Rita 

[Simply and tenderly.] Sveet ladies — gentlemen — dear 
peoples who 'ave been so good to me! I do not know your 
names an' faces — I cannot follow you into your 'omes, an' 
laugh an' veep vit' you in every joy an' sorrow. I can jus' 
sing a leetle, an' pray de saints dat somet'ing in my song 
vill spik to you an' say — [Holding out her arms to them.] 
"1 love you! You are all I 'ave to love in dis beeg vorld! " 
[There are cheers from below, cries of "That's the ticket!'^ 
"Hear that?" "Shut up!" "Let her go on!" etc.] Mebbe 
you don' on'erstan' jus' vhat dat mean — you who 'ave 
'usban's, vives an' leetle children, too! \With a smile.] 
Ah, veil! I vould not like it dat you should! I only tell 
you so you feel like doing for me vone las' great kin'ness — 



176 ROMANCE 

[There are cries of "What is it?'' "Tell us!'' "Give us a 
chance!" etc., from below. She fakes a step forward and 
speaks very earnestly.] Tomorrow I go far avay, Mebbe 
sometime I sing for you again — [Cheers and cries of "Of 
course!" "That's right!" "Come back soon!" etc. She 
puts up her hand for silence.] — an' mebbe not. Who 
knows? But if t'rough all your 'appy, 'appy lives you 
carry, vay down deep, vone leetle fought of me — vone 
golden memory of my song — vherever I am, dear frien's, 
oh! I vill know it an' be glad! [Shouts of "We will!" 
"That's easy!" "Couldn't help it!" "Trust us!" etc. Her 
tone changes. She continues with tender playfulness.] In my 
country ve 'ave a leetle — vhat you say? — t'ing ve tell 
each oder vhen ve say "Addio" — "Che le rose fioriscano 
nei vostri cuorifin ch'io ritorno a coglierle!" May de roses 
blossom in your 'eart until I come to gadder dem again! 
[There is a great shout from the adoring crowd. "Good- 
bye!" "Good luck!" "Comeback soon!" "We'll wait for 
you!" etc., etc., are heard. The band begins to play, very 
slowly," Auld Lang Syne." The cheering continues. There 
is a final burst of fireworks. Rita tosses one of her white roses 
over the balcony, there is a renewed shout, she smiles and fol- 
lows it with another and another, until they all are gone. 
Then, still smiling and showing her empty hands, she blows a 
last kiss and steps inside, shutting the window behind her. 
There has been applause from the people in the room at the 
close of her little speech, and now there is a general movement 
forward to congratulate her.] 

M. Baptiste 
{Effusively.] Ah, madame, mes compliments! C'Mait par^ 
fait! 

Rita 
Merci — merci — 



ACT III 177 

SiGNORA VanNUCCI 

[Embracing her.] Amore mio — / Come sei hellal 

Rita 
Ah, non era niente — 

Van Tuyl 
[Formally.] Madame, my congratulations! 

Rita 

T'ank you ver' much — I — [She staggers suddenly, 
leaning on a chair and putting her hand to her head. There is 
a moment's pause, then everyone speaks at once.] 

SiGNORA VaNNUCCI 

[Rushing to her.] Tesoro mio — / Cos'e' — ? 

M. Baptiste 

Mais elle est malade — 

Van Tuyl 

[To Adolph.] A glass of water — quick! [He brings it 
hurriedly.] 

SiGNORA VaNNUCCI 

[To Rita.] Bevi. 

Rita 

[Recovering and refusing the glass.] No — sto benone — 
[To Baptiste.] J'ai la tete en feu — mille pardons — [She 
smiles.] 

M. Baptiste 

[Sympathetically.] Ah oui, madame — je comprends — ' 
desfois, vous savez, ga arrive — 



178 ROMANCE 

SiGNORA VaNNUCCI 

[To Van TuyL] She 'ave eat nodings for vone — two 
day! [To Baptiste.] Monsieur, vous savez madame — elle 
est au bout de ses forces — alors, vous comprenez — 

M. Baptiste 

Mais certainement — [To the waiters, chasseurs, bellboys, 
etc.] Assez — assez, mes enfants! Dites bon soir a madame 
et sauvez-vous — / [They all huddle towards the door.] 

The Bellboy 

[To Adolph who is trying to pull him along.] Leggo o' me! 
Don't ye see this is my only chance? [He struggles.] 

Adolph 

[Under his breath.] Ssh! Be still! 

A Waiter 

[Officiously.] Tais-toi! 

The Head Waiter 

[Angrily.] Nom d'un pipe — / Enlevez cet enf ant-la — / 

The Bellboy 

[Loudly, as they all try to pull him.] I will not! [Calling 
to Rita.] Say! 

Rita 

You vant to spik to me — yes? Come, I vill leesten! 
[The waiters release him.] 

The Bellboy 

[Triumphantly to them.] Ya — ya! Did ye ever get left? 
[He turns to Rita and suddenly becomes horribly embarrassed.] 



ACT III 179 

Rita 

[Smiling.] Veil? 

The Bellboy 

[All in one breath, speaking very rapidly.] Beggin' yer 
pardon an' thankin' ye for all favors past an' present would 
it cause ye too much inconvenience t' affix yer autograph 
to this little album thus joinin' the large company o' 
famous ladies an' gents what have spread sunshine in the 
life of a po'r bellboy! 

Rita 

[Bewildered.] Vhat — ? [To Baptiste.] Que dit-il, le 
pHit? 

M. Baptiste 

[Smoothly^ Oh, c'est voire autographe, madame — [Under 
his breath as he glances ferociously at the boy.] Sacre pHit 
cochon — 

Rita 

Mais certainement — [To the bellboy holding out her hand 
for book.] 'Ere — vhere shall I — ? 

The Bellboy 

[Gratefully giving her the book and a pencil.] Say, yer a 
real Jim Dandy! [Pointing to the page.] Right there — 
between P. T. Barnum an' General Grant! [As she writes.] 
I've been savin' that space for two years, but holy Moses ! 
I guess I'll never get anybody t' beat you! 

Rita 

[Returning him book] So — ! Be good boy — vork 'ard 
— an' grow up fine, big Amer'can man! Vait! [Picking 
up a wreath of roses and smilingly putting it round his neck.] 
A souvenir! 



t8o romance 

The Bellboy 

T'anks. But if yer givin' away souvenirs, there's one 
I'd like more'n this! 

Rita 

[Innocently.] An' vhat is dat? 

The Bellboy 

[Taking his courage in both hands.] Would ye — would 
ye give me a kiss? [A movement of horror on the part of the 
waiters, proprietors, etc.] 

Rita 

[Smiling as she makes believe to box his ears, then bending 
over and kissing him.] Barabbin — ! [Pushing him towards 
door.] Now run — qveeck — qveeck — ! 

The Bellboy 

[As he dashes out.] S'elp me Gawd, I'll never wash that 
side o' my face again! 

Rita 

[To all the waiters, etc., as they go out.] Bon soirl Bon 
soirl Merci bien — bon soir, Adolph — 

The Waiters 

Bon soir, Madame — bon soir — [They go out.] 

M. Baptiste 

[Kissing her hand.] A demain, madame — / Et dormez 
bien! 

Rita 

Merci — merci, cher m'sieur — 



ACT III i8i 

Head Waiter 

[Kissing her hand.] Ah, madame, vous savez nous serons 
desoles de vous perdre — / 

Rita 

[Murmuring politely.] Ah, m'sieur — c'est tres aimahle 
de voire part! Bon soir — bon soir! [They go out. Rita, 
Signora Vannucci and Van Tuyl are left alone.] 

Rita 

[Turning away with a sigh of lassitude.] Oh — / Oh — / 
Oh — / Son cosi stanca — 

Signora Vannucci 
[Sympathetically.] Poverina! 

Rita 

[To the parrots.] Beh, Manrico, come stai stassera — eh? 
E tu, Leonora bella — [Giving them a lump of sugar from the 
table.] Ecco — / Per celebrare! [She turns away, takes a 
cigarette from a box on a small table and lights it. Van Tuyl, 
leaning against the piano, smokes a cigarette quietly and 
watches her. Signora Vannucci bustles about the fire, pre- 
paring the negligee, slippers, etc.] 

Signora Vannucci 

[Always speaking as one would to a spoilt, tired child.] 
Vieni, piccina! Levati il mantello! Guarda! Ecco la tua 
veste da camera tutta bella calda — 

Rita 

[Blowing out her match and turning vacantly.] Eh — ? 
[Understanding.] Ah, gid — il mio mantello — [She drops 



i82 ROMANCE 

her cloak carelessly on the floor as she comes over to the fire 
and stops by the monkey's cradle. She draws over it a small 
monogrammed blanket, which hangs over the foot, and care- 
fully tucks it in.] 

Rita 
[Smoking and gently rocking the cradle.] Va bene — dormi 
— dormi, belleza mia! Mamma e qui, vicino a te — dormi, 
anima mia — dormi — dormi — 

SiGNORA VaNNUCCI 

[Coming to her with a large jewel-case.] La tua corona, 
cara — e i tuoi gioielli — 

Rita 

[Putting her hand to her brow.] Oh, my 'ead — it is so 
tired — Eccola — ! [She slowly and listlessly takes off the 
crown, her necklace, bracelets, brooches, rings, etc., and gives 
them to the Vannucci. The latter puts them in the jewel-case.] 

SiGNORA Vannucci 

[While this is going on.] E la collana — cosi si fa — or a 
gli anelli — ora dammi il tuo braccio che ti leva i braccialetti — 

Rita 

[Petulantly, as Signora Vannucci pinches her in unclasp- 
ing a bracelet.] Fa attenzione — che mifai male! 

Signora Vannucci 

[Quickly.] Oh, scusa — scusa, cara! [She shuts the case 
and puts it in the inside room.] 

Rita 

[Sitting down on the floor before theflre where the cards are 



ACT III 183 

scattered and speaking in an odd voice.] Per Vultima volta — 
chissa cosa diranno? [She recovers herself with an effort, 
gathers up the cards, shuffles, and begins to deal, her cigarette 
still in her mouth.] 

SiGNORA VanNUCCI 

[Coming from the inner room.] Ah, lascia le carte stassera! 
Rita 

[Paying no attention to her.] La carta di mezzo a destra — 
cost! [Counting.] Una — due — tre — died! Co si! [She 
deals and moves about the cards in a mystic pattern.] 

SiGNORA VaNNUCCI 

[Kneeling by her and taking of her slippers, trying not to 
disturb her.] Eccoci! [Feeling her feet.] Madonna mia! 
Come sonfreddi — / 

Rita 

[Busy with the cards.] II re di cuori cambia posto col 
fante — [She kicks viciously at the Vannucci. Then resum- 
ing.] E il fante colVasso — 

SiGNORA Vannucci 

[Gingerly trying to put a slipper on the other foot.] Adagio! 
Adagio! [As she succeeds.] Ecco! E gid finita! [Undoing 
Rita's dress.] Adesso leviamo questo — ci vuole un momenta 
solo — 

Rita 

[Over her shoulder.] Via! [Resuming.] Metto Vultimo 
quadro su il prima cuore — 

SiGNORA Vannucci 
[As before.] Ti prego, cara — unmomentino — 



i84 ROMANCE 

Rita 

[In sudden anger.] Lasciami stare — / ti do una 
lavata di capo — 

SiGNORA VaNNUCCI 

[Appealing to Van Tuyl.] Milor — 'e see — she villa not 
let me — [Rita solemnly crosses herself thrice.] 

Van Tuyl 
[Tossing away his cigarette and rising.] Rita. 

Rita 
[Looking up.] Vhat — ? 

Van Tuyl 

[Quietly.] Stand up. The signora wants to put on your 
dressing-gown. 

Rita 

[Whimpering as she tosses her cigarette into the fire and 
rises.] Oh, dear! Vhat for you make me — 

Van Tuyl 

[Interrupting.] Ssh — ! [During the following, with the 
Vannucci's help she slips off her ball-gown and puts on the 
elaborate negligee.] 

Rita 
[Simply, still looking at him.] Vhy you come 'ere? 

Van Tuyl 
Don't you want to see me? 

Rita 
Oh, I dunno — I am so tired — 



ACT III 185 

Van Tuyl 
[Taking one of her hands.] Poor little thing! 

Rita 

Yes, dat is right — poor leetle — [Suddenly and viciously 
to Vannucci.] Per carita! Credi che siafatta di legno — ? 

SiGNORA Vannucci 

[Panic-stricken.] Scusi tanto, cara mia! Va bene, — cost/ 
[She goes off into the inner room, carrying the dress.] 

Rita 

[In a sulky voice to Van Tuyl.] She mos' ver' nearly break 
my arm ! [She drops on the floor again and lies at full length, 
her chin in her hands, studying the cards.] 

Van Tuyl 

[Smiling.] And what do the cards say — eh, little Italian 
sorceress? 

Rita 

Dey say — dey say — [She looks far away.] You did not 
see 'im veep! 

Van Tuyl 
What? 

Rita 

[As before.] 'E veep jus' like a leetle boy — vhen first 'e 
meet de badness of de vorld — 

Van Tuyl 

[Concerned.] Ah, don't, my dear! Don't think of it any 
more! 



i86 ROMANCE 

Rita 

[Looking down again at the cards.] T'ree club — dat 
mean a long, long journey — 

Van Tuyl 

[Cheerfully.] Well! You're certainly going away. What 
comes next? 

Rita 

Vour — five di'mon' — an' good vones, too. Dat mean 
success an' money — vhat you say? — great fame. Only 
to reach it I raus' go t'rough much. 

Van Tuyl 

You'll get there — never fear! 

Rita 

[Closing her eyes.] Ah, my frien', I t'ink I am too tired 
to try. 

Van Tuyl 

[Sympathetically.] I know it's hard, my dear, but — 
Rita 

[Interrupting.] 'E vould not spik to me vone leetle 
vord! I say "T'ank you for 'aving loved me!" — jus' 
like dat ! — an' den I vait. But 'e say nodings — so I go 
avay. 

Van Tuyl 

[Pained] Don't, dear, it's no use! [Pointing to a card.] 
What's that jack of hearts doing up here in the corner? 

Rita 

Mebbe 'e is a blond young man who give to me 'is 



ACT III 187 

'eart — [Breaking off.] 'Ow long you t'ink, before 'e vill 
forget? 

Van Tuyl 
Ssh! 

Rita 

[Returning to cards.] Ah, che m'importa? [Pointing to 
the jack.] Dat blond young man — look ! 'Ow 'e is far from 
me! 

Van Tuyl 

[Looking at cards.] From you — ? Oh, of course! 
You're the red queen down in the middle of all those 
spades. They're nothing bad, I hope? 

Rita 
You are among dem. 

Van Tuyl 
I — ? 

Rita 

Yes, an' de oders, too — see! You are all about me — 
dere is no vay out. 

Van Tuyl 
But, dear, I — 

Rita 

[Beginning with a little smile.] My — vhat you say? 
[Tenderly.] — my flames — my splendid vones of whom I 
vas so proud — look! 'ow you are black, an' strong — 
ah, santa Madonna! I 'ave give you ev'ryt'ings, an' now 
vhen love, 'e come an' smile an' 'old out 'is dear 'ands, I 
cannot give — no, cruel vones ! You 'ave leave me nod- 
ings — you 'ave take it all — [She sweeps away the cards 
and buries her face in her hands.] 



i88 ROMANCE 

Van Tuyl 

[Gently.] No. Not all. No one could do that. [Chang- 
ing his tone.] Come and play for me! Please, there's a 
dear! 

Rita 

[Vacantly.] Play — ? 

Van Tuyl 

[Standing above her.] Yes. A little music will do you 
good. 

Rita 
Music — ? 

Van Tuyl 
[Simply.] That's left, my dear. [Pause.] 

Rita 

[Half to herself.] Yes — dat is lef. [To him.] Veil, vhat 
you vant I play? [She holds out her hands for him to help 
her up.] 

Van Tuyl 

[Doing so.] Try something of our old friend Abbe 
Liszt. You know, that thing I used to like so much — all 
stars and jasmine — voices in the night — [She sits at the 
piano and plays.] 

Van Tuyl 

[Delighted.] That's it! [He hums the air lightly.] By 
Jove — ! Isn't that beautiful? What's it called? 

Rita 
[Playing.] A dream of love — 



ACT III 189 

Van Tuyl 

Of course! So it is! [She breaks off .] What's the matter? 

Rita 

I 'ave vake up — dat is all. De dream is gone — [She 
buries her face in her hands. Van Tuyl puts his hand gently 
on her shoulder. There is an instant's pause. Signora Van- 
nucci comes bustling in from the other room.] 

Signora Vannucci 

[Entering.] Adesso! Siamo belVe pronti per — [She sees 
Rita's position. Van Tuyl makes a gesture for her to be still. 
She stops in the middle of her phrase. Then, under her 
breath^ Poverinal [She catches Van Tuyl's eye, makes a 
gesture towards Rita, then to macaroni at fire, next to table — 
then pantomime of eating. He nods assent. With every evi- 
dence of satisfaction she goes over to fire and takes up the 
macaroni, pours the sauce over it, and stirs it.] 

Van Tuyl 

[Turning to Rita, speaking kindly and cheerfully.] Sup- 
per's ready! 

Rita 
[Stifled.] I am not 'ungry. 

Van Tuyl 

[Pleading.] Oh, please! Why, the signora has taken all 
the trouble to cook your favorite macaroni — 

Signora Vannucci 
[From fir ei\ Al sugo — sono buonissimi! 

Rita 
No — no — no — 



igo ROMANCE 

Van Tuyl 

Think how disappointed she'll be — [Raising her.] 
There ! Come along, little girl — [Showing her the table.] 
Doesn't that salad look good? We'll sit you down in this 
big armchair at the head of the table — [Doing so as he 
speaks.] and I'll be butler, with my napkin over my arm — 
so ! [Imitating a servant's manner.] And will madame drink 
Chianti or a little champagne — ? [Looking at the label on 
the bottle.] Roznay et PerrauU, '52 — not too dry, I venture 
to recommend it. Champagne — ? Very good, madame 
— I'll open it at once! [He begins to do so.] 

SiGNORA VaNNUCCI 

[Serving her with spaghetti.] Ecco! Che buon odore? 
[Sprinkling it with cheese.] Mettiamo abbastanza formag- 
gio — 

Van Tuyl 

[Pulling the cork and filling a glass.] There! That's a 
happy sight for any prima donna! Just taste it now and 
tell me if it's all right. If not, I'll send down and — [As 
she refuses the glass.] Please, dear! You really need it I 

Signora Vannucci 

[As one speaks to a child.] Macche! Non m,angi? [Coax- 
ingly.] Ti prego — ! 

Van Tuyl 

[Offering her again the glass.] Just as a favor — please. 
[She shakes her head.] 

Signora Vannucci 

[Winding a great coil of spaghetti around the end of a fork 
and holding it in front of Rita's mouth.] Questo pochino — 



ACT III 191 

presto! presto! Apri la hocca! {As Rita draws her head 
away and the spaghetti falls to the plate.] Santo Dio! {A 
pause of discouragement. She and Van Tuyl look at each 
other and shrug their shoulders. Then a happy idea comes 
to the signora. Behind Rita's back, she gestures towards Van 
Tuyl, then to the spaghetti, pantomime of his sitting at table 
opposite Rita, and eating and drinking. He smiles and nods.] 

Van Tuyl 

[To Rita.] You know the sight of that macaroni's mak- 
ing me hungry? I wonder if there'd be enough to give me 
just a — 

Signora Vannucci 

[Interrupting and running to serve him.] But certainly! 
Now if milor 'e jus' sita downa — [As Van Tuyl does so, 
opposite Rita.] Ah, dat is all right! You lika da macaroni, 
I bet my life! [She serves him.] 

Van Tuyl 

Here! That's enough! Thanks. [As he pours himself 
a glass of wine.] And just a swallow of champagne — I 
declare, I feel quite famished ! [Pause. He does not touch 
anything.] Well? Are you going to let me starve? 

Rita 

[Rousing herself.] Vhat you say? 

Van Tuyl 
You know I can't eat anything until my hostess does. 

Rita 
[Aggrieved.] It is a treeck you play! 



192 ROMANCE 

Van Tuyl 
[Humbly.] No, on my word, I'm hungry 1 

Rita 

[Smiling unwillingly.] Den jus' because I am so fright- 
fully polite ! [She eats a piece of spaghetti. Signora Van- 
nucci and Van Tuyl exchange glances.] 

Signora Vannucci 
[Hanging over Rita.] Buoni? 

Rita 

[Patting her cheek.] Squisiti — I 

Signora Vannucci 
[Kissing her.] Tesorino mio! 

Van Tuyl 
I'm thirsty, too! 

Rita 

[Smiling.] Blageur! [She drinks some champagne. He 
smiles and follows her example.] 

Van Tuyl 

[Putting down his glass.] A thousand thanks! And now, 
my dear, the signora's had a hard day's packing and to- 
morrow she'll be up at dawn. Why don't you send her to 
bed and give her a good night's rest? 

Signora Vannucci 
Grazia, milor — I am nota much tired — 



ACT III 193 

Rita 

Ha ragione. A lettol E metti in gabbia i pappagalW 
[She drinks again.] 

SiGNORA VaISTNUCCI 

[Meaningly.] Capisco! Tu e milor avrete da chiac- 
chierare un poU \To the parrot.] E voi, povere bestie! Dovete 
avere un bel sonno. [Unchaining them and taking one on 
each wrist.] Andiamo — / [To Van Tuyl.] I 'ope milor 
'e sleep ver' fine! Good night! 

Van Tuyl 
[Politely rising.] Oh, thanks. Good night, signora. 

SiGNORA VanNUCCI 

[At door — back.] E tu, anima mia — mangia piu che 
puoil 

Rita 

Buona notte — [Suddenly putting down her glass, rising 
and running to Signora Vannucci.] Carissima mia, ti rin~ 
grazio tanto — tanto! Ti amo sempre — non dimenticarel 
Ti amo — Ti amo — [She throws her arms around her neck 
and kisses her warmly.] 

Signora Vannucci 

[Half smothered by the embrace.] Madonna santissima, 
cosa vuol dire tutto questo? [Snivelling a little.] Corpo di 
Bacco! Mi fai piangere! Buona notte — [Kissing her.] 
Buona notte, milor — / [Kissing her again.] Carissima — / 
Buona notte — buona notte — [She goes out, sniffing and 
smiling and carrying the parrots,] 



194 ROMANCE 

Van Tuyl 

[Who has served her with salad.] Now sit down and finish 
your supper. 

Rita 

[Shaking her head.] No — it is enough — 

Van Tuyl 

[Filling her glass and lifting his own.] Well, then, let's 
drink a toast — eh? I have it! To the splendor of your 
days to come! [He bows and drinks. Then, seeing she has 
not followed his example.] What's the matter? Don't they 
tempt you? 

Rita 

[Holding her glass.] I do not drink to vhat I know mus' 
be, but to a dream I vill not dream again — de picture 
of a small room, varm an' bright, vit' 'm so busy writ- 
ing at 'is desk, — an' me, before de fi.re, jus' rocking, 
smiling, vit' a little baby nursing at my breas'. 

Van Tuyl 

[Suddenly.] My dear, I want you to listen to a plan. 
[Sitting in the big chair and drawing her down until she 
nestles at his feet.] There — ! That's right — ! [Cheer- 
fully resuming.] Now how would you like it if I sailed on 
the Alaska in April and met you in Paris and took you 
straight back to Millefleurs — 

Rita 
But my Russian concert tour? 

Van Tuyl 
They can get Patti in your place, 



ACT m 19s 

Rita 

[Not pleased.] Patti — ? 

Van Tuyl 
Yes, she'd be glad enough to go. 

Rita 

[Less and less enthusiastic.] But my dear frien', it is 
not — vhat you say? — it is not fair? 

Van Tuyl 
To whom? 

Rita 
To dose poor Russians! 

Van Tuyl 
[Smiling.] You're jealous ! 

Rita 

[Outraged.] Of Patti? Me — ? [Very scornfully.] My 
Lord! 

Van Tuyl 

[Caressing her hair.] Then why bother? Think of 
Millefleurs and how we loved it on those nights in May! 
And it's there now — asleep and empty, like some spell- 
bound garden, just waiting for the touch of spring, and 
us, to give it life again. 

Rita 

[Her head against his knee.] You tol' me vonce you are 
too ol' to love Millefleurs — 



196 ROMANCE 

Van Tuyl 

[Smiling.] My dear, your sorcery can make me young 
again. 

Rita 

No — no — da t is imposs'ble — you don' on'erstan' — 

Van Tuyl 

[Holding her.] What is it? Tell me! 

Rita 

[Rising.] I cannot do t'ings like dat any more. [A 
pause.] 

Van Tuyl 

[Humbly.] Forgive me. It was a mistake. I didn't 
mean to hurt you. 

Rita 

[Choking.] 'Urt me? You — ? My dear, dear frien', 
I am not vort' such kin'ness — [She takes his hand.] But 
in dese las' few veeks, I learn somet'ing all new an' bee- 
eautiful — de goodness of de vorld — ! It come like some 
great light dat burn an' blind an' strike me to de groun' ! 
It show me for de first time to myself! Ah, santo Diol vhat 
it is I see! But now I cannot change, an' yet I cannot 
jus' forget, an' go on as before — you see, I am — oh, 
vhat you call it? all meex up ! [Pointing to her bed.] I almos' 
vish dat I could lie down dere tonight — an' say good-bye. 

Van Tuyl 
And what about Tom? 

Rita 
[Quickly.] Don' spik 'is name — 



ACT III 197 

Van Tuyl 

I must. If knowing him has done all that for you — 
and God help me, dear, but up to now I didn't realize that 
it had! — don't you think you owe him something in re- 
turn? 

Rita 
Somet'ing? 

Van Tuyl 

Yes, and I'll tell you what it is. You've got to pull 
yourself together, to raise your head and say, "I've been 
fooHsh in my time — but that's all over. From now on 
I'm going to be strong. I'm going to turn the rest of my 
life into a splendid noble thing. I won't stop till I'm the 
sort of woman Tom would be proud of" — 

Rita 

[Interrupting.] Please — please — ■ 

Van Tuyl 

[With sudden tenderness.] I know it's hard, my darling, 
but that's no reason why you should give up. Why, it's 
your prize, your chance — the power to turn this dread- 
ful business into something radiant and true — the final 
gift Tom's put into your hands! 

Rita 

[Clasping her hands.] Ah, Dio mio — 

Van Tuyl 

[Going on.] Be brave! live gloriously! And if responsi- 
bility's the price of love, love's worth it. Isn't it, my dear? 
[A pause.] 



198 • ROMANCE 

Rita 

You are right. But oh, my frien' — my frien' — vhat 
'ave I done — vhat 'ave I done dat all dis come to me — ? 
[She bursts into agonized tears and throws herself on the couch, 
sobbing bitterly.] 

Van Tuyl 

[Putting his hand on her shaking shoulder] My dear, I'm 
proud of you. 

[There is a knock at the door to the hall. They both turn. 
A moment's silence. The knock is repeated] 

Rita 
[Whispering.] Vhat shall I — ? 

Van Tuyl 
Go and open it. 

Rita 

[Going to door.] Who is dere? 

The Bellboy's Voice 

[Outside.] It's me, ma'am. There's a gent downstairs 
t' see ye. 

Rita 

Vhat — ? [She opens the door a crack.] 

The Bellboy 

They told him it was awful late an' you was tired, but 
he wouldn't go an' made 'em send up this. [He sticks in his 
arm with a tray, on which is a note. Rita takes it, looks at it, 
then opens it quickly and takes out a card, which she reads.] 



ACT III 199 

Van Tuyl 
[Watching her face.] It's Tom? 

Rita 

^^ [Nodding.] Yes — 

Van Tuyl 
[In a low voice.] What does he want? 

Rita 

[Reading.] " I mus' see you. It is life or death." [Look- 
ing up.] Dat's all. 

Van Tuyl 

What are you going to do? 

Rita 

I will say "no." [She turns towards the door.] 

Van Tuyl 
Wait! 

Rita 

[Shuddering.] After vhat 'as 'appen, I can never look 
into 'is eyes again. 

Van Tuyl 

Perhaps this is the last time you two will ever meet. 
Be merciful. Don't leave the poor boy with the memory 
of this afternoon. Give him the chance of seeing you as 
you are. Give him the joy of knowing what he's done for 
you. 

Rita 

[Nervously.] Please don' ask me — no — I do not dare — 



200 ROMANCE 

Van Tuyl 
Be a brave child! Let me send for him! 

Rita 

No — not tonight — 

Van Tuyl 

This very minute. [Going to the door.] Ask the gentle- 
man to come upstairs. 

The Bellboy 

All right, sir. [He closes the door. Van Tuyl turns to 
find his coat, hat and stick.] 

Rita 
[Terrified.] You are not going! 

Van Tuyl 
He mustn't find me here. 

Rita 

[Trembling and clinging to him] Ah, don' leave me — 
please — I am afraid — 

Van Tuyl 

Afraid — when you can help him? I thought you loved 
him, dear. [She releases her hold on him. He offers her his 
hand.] Good-bye. 

Rita 

[Taking his hand.] Good-bye. 

Van Tuyl 
[Still holding hers.] Do you forgive me, Rita? 



ACT III 20I 

Rita 
For vhat? 

Van Tuyl 

[Wistfully.] For everything. [With a little gasp she lifts' 
his hand and touches it to her lips.] 

Van Tuyl 

[Deeply moved as he suddenly gathers her in his arms.] My 
darling — ! Beautiful — ! Joy of men — ! 

Rita 

[Brokenly.] Oh, my good frien' — [She buries her face 
on his shoulder.] 

Van Tuyl 

\With infinite tenderness.] Little bird — ! I shall hear 
your singing in my heart forever, and I thank you from 
the bottom of my soul! [He bends over and softly kisses her 
hair. Then, quickly and sharply, turns and goes out the other 
door. Rita is left alone. She looks after him for a moment, 
then runs to the window and opens it. Outside the gleam and 
swirl of falling snow can be seen. She stands there, one hand 
to her throat, breathing deeply. A knock is heard at the door 
to the hall. She closes the window and turns. The knock is 
repeated, more loudly. She tries to speak, but cannot. The 
knock is heard a third time. She controls herself with a great 
effort.] 

Rita 

Come ! [The door opens and Tom appears. He closes the 
door and stands with his back against it, looking at her. He 
is quite white, his hair dishevelled, his eyes wild. He is with- 
out overcoat or gloves — the snow is still on his shoulders, his 
hands are red with cold. His voice is strange. He moves 



202 ROMANCE 

and talks as though devoured hy some inward flame. During 
the entire scene he rarely, if ever, takes his eyes away from, 
her.] 

Rita 

\With difficulty.] You — you vant to — see me? 

Tom 
Yes. {They look at each other, breathing deeply.] 

Rita 

[Unsteadily.] Veil? 

Tom 
Just wait. I — I'm sort of cold. 

Rita 

[Her manner changing at once.] De fire — please — go 
qveeck an' varm yourself — [Taking him by the arm and 
drawing him across.] Santi benissimi! You are all vet ! 
[Glancing at his feet.] An' your shoe — per carital You 
'ave valk 'ere in dis snow! 

Tom 

[Oddly.] Yes. I've been walking. All the time that 
you were singing there. I think I got as far as Trinity, but 
I don't — quite remember. 

Rita 

Vhat for you come out on a night so bad? An', if you 
mus', vit'out dat beeg t'ick coat? 

Tom 

[Looking down at himself.] My coat? I suppose I — I 
forgot to put it on. 



ACT ni 203 

Rita 
Forget — ! [With an exclamation.] Madonna/ 

Tom 

[Again staring at her.] I was thinking about something 
else. About you. I was praying for you in the twilight — 
in the evening — in the black and dark night — 

Rita 
Oh, MeestairTom! 

Tom 

[Continuing.] I walked and prayed. And in my prayers 
I felt a little hand here on my arm. Some lost one offering 
herself, I thought. But when I looked down at the red 
mouth under the veil and the tawdry bonnet, my head 
swam. It was you! 

Rita 
[Amazed.] Me — ? 

Tom 

I heard you crpng as I ran away. And I ran and ran — 
I don't know where — till I saw some lights and people. 
And then a little beggar, playing on the curb, held up her 
hand. And when I gave her a penny, she thanked me — 
with your voice. 

Rita 

No — no — you vere meestake — 

Tom 

Of course! And then I saw you walking by me in the 
streets and looking at me out of windows — hundreds of 
different women, but every one was you. I couldn't 



204 ROMANCE 

move — you were so thick and close. And it began snow- 
ing, and I thanked God, because that would blot you from 
my sight. But no ! Each snowflake was a tiny face. Your 
face. Some crowned with diamonds, some with loosened 
hair, some old and terrible, some sad and young. Some 
with your sweet lips parted and your cheeks all wet with 
tears. And you came and came and kept on coming. 
Thousands and millions of you, driving and swirling in 
your devil's dance by the glare of the gas-light on the cor- 
ner. And not one spoke. You all just looked at me as if 
you wanted something — imploring — longing with your 
beautiful dumb eyes. And suddenly I knew! You were 
begging me to bring your soul to God before it was too late! 
And I called to you — I cried out that I would ! And then 
you smiled and vanished, and I came here through the 
storm. 

Rita 

[Clasping her hands.] You poor, poor boy — 

Tom 

It's different now. Of course you understand, [With 
emphasis.] As man and woman, we've done with one an- 
other. Everything like that is over and forgotten — seared 
away. But I am still a minister of God's word and you 
are still a human being in mortal peril! 

Rita 

[Tenderly.] Ah, don' talk dat vay! But come — seet 
'ere! You are all shaking — see! you vill catch col'! [She 
tries to make him sit by fire.] 

Tom 
[Paying no attention.] Do you know you're standing on 



ACT III 20S 

the brink of life or death? You must choose between 
them. 

Rita 

[Trying to calm him.] Yes, yes — anodder time. 

Tom 

No, not another time! Tonight! This very minute! 
Now! ' 

Rita 

[In deep distress.] Oh, vhy you come? 

Tom 

To save you, dear. Now Hsten ! At midnight I must lead 
my clergy through the streets. You know, my plan to 
gather in the vagrants for my New Year Service. And 
tomorrow you go away. So this is my hour — my hour of 
hours! And I'll never leave you till you've given me your 
soul! 

Rita 

Ah, if you only knew 'ow — 

Tom 

[Interrupting and holding up his hand.] Listen! Don't 
you hear it — now — above us — in this very room? 

Rita 
'Ear vhat — ? 

Tom 
[In a sort of rapture.] The sound of many waters — 

Rita 
[Puzzled.] Eh? 



2o6 ROMANCE 

Tom 

The Voice — [Very solemnly.] The thunder of an angel's 
wings! [A pause.] 

Rita 

I 'ear de vind blow, an' my 'eart beat. Dat is all. 

Tom 

It's here! I feel it! [Ec^/a/^'ca//}'.] Oh, dear God! Dear 
God! You're giving me the strength to conquer her! 

Rita 

[Anxiously.] Conquair — ■ ? [Suddenly.] You vant to 
'urt me! Ah, don' 'urt me — please! 

Tom 

[Turning to her and speaking with sudden tenderness.] My 
dear, I wouldn't hurt you for the world. It's love I'm of- 
fering you — [As she makes a quick movement.] — no, wait, 
my poor child. Not the sick passion of those luxurious 
beasts. Not even the great pity I once knew. Not theirs, 
not mine, the love I bring to you tonight is God's alone! 

Rita 
God's love — ? 

Tom 

Yes, darling, His. The mighty tenderness that moves 
the stars, and understands when little children pray. It's 
ours, forever! [In sudden anxiety.] Do you realize the mean- 
ing of that word? 

Rita 

[Sadly.] Your keess 'ave teach me. 



ACT III 207 

Tom 

[Always staring at her.] Little lost soul, I am ready to 
carry you home ! Little tired heart, eager for joy! Follow 
me and find it in His arms ! 

Rita 
Vhat you mean? 

Tom 

Though your sins be as scarlet, they shall be white as 
snow. For you come out of great tribulation and have 
washed your robes in the blood of the Lamb — 

Rita 
Vhat is it — vhat you say? 

Tom 

[More and more moved.] You shall no longer hunger and 
thirst. For He will lead you to the living waters and the 
Tree of Life, and God Himself will wipe away your tears! 

Rita 

[Looking at him.] I don' — qvite on'erstan' — 

Tom 

I thought our meeting was the work of chance — the 
call of a man for his earthly mate. But in bitter shame 
have I learnt my error. God drew you to me, over land and 
sea, that I might be the engine of His Word. You are a 
bride — but ah! not mine — [His voice dropping.] — not 
mine! 

Rita 

A bride — me? No — no — dat is imposs'ble — 



2o8 ROMANCE 

Tom 

[His eyes gleaming.] Don't you hear the midnight cry — 
"Behold! the Bridegroom cometh! Go ye out to meet 
him!" Don't you see Him, coming from the wilderness 
like a pillar of smoke, perfumed with myrrh and frankin- 
cense? His eyes are as a flame of fire, on his head are many 
crowns. He wears a garment dipped in blood and on it a 
name is written — Lord of Lords and King of Kings! 
Hark! He is outside, knocking at your door! O Rose of 
Sharon — Lily of the Valley! Cease your slumber, for 
the hour has come! 

Rita 

[Nervously.] I do not like it vhen you talk dis vay — 

Tom 

[Coming nearer as she shrinks away.] How can you sleep 
when His voice is calling — "Rise up, my love, my fair 
one — and come away ! For lo ! the winter is past, the 
rain is over and gone! The flowers appear on the earth, 
the time for the singing of birds is come! Open to me, my 
sister, my love, my dove, my undefiled — for my head is 
filled with dew and my locks with the drops of the night — " 

Rita 

[Desperately.] Santa Madonna — / Vhat is it you 
say — ? 

Tom 

Awake, O fairest among women ! Awake, and open wide 
the door! Awake and sing and shout and cry aloud — 
"My beloved is mine and His desire is towards me!" 

Rita 

Your eyes — dey bite me — oh, dey burn me up — 



ACT III 209 

Tom 

[Breathing fast and deep as he comes nearer.] My dear, 
He's tired! Don't keep Him standing there! 

Rita 
Meestair Tom — Meestair Torn! 

Tom 

[Hoarsely] Darling, open your heart! For God's sake, 
let Him in! 

Rita 

[In a spasm of nervous horror as he finally seizes her.] Don' 
touch me — don' — don' — let me go ! [She drops writhing 
at his feet. He holds fast to her hands and speaks quickly, 
bending over her.] 

Tom 

[Changing his tone.] So thafs it, is it? So you're proud! 
You think you can close your soul against the Lamb! 
Well, let me tell you now that unless you repent, the day 
will come when your pride lies broken, shattered by His 
wrath! You're young and beautiful, but that won't last! 
Your head is burdened with the weight of gold and splen- 
dors. But, unless you pray God to forgive you, the time is 
near when the stench of your dead vanities will fill the 
world — 

Rita 

[Interrupting] Let me go — let me go — [She tears her- 
self free and runs over to the fire where she crouches trembling 
against the wall.] 

Tom 

\With horrible intensity.] When the, kings of the earth 



2IO ROMANCE 

have sealed themselves in pleasure on your heart — when 
the merchants of the earth have grown fat through the 
abundance of your delicacies — when you have glorified 
yourself and lived deliciously, and all lands are drunk with 
the wine of your abominations — when you have said in 
your soul, I sit a queen, and am no widow, and shall see no 
sorrow — then will the Son of Man thrust in his sickle ! 
Then will He gather your grapes and cast them down and 
tread them in the winepress of God's rage! 

Rita 

It is not true — ^ [A coal breaks in the grate behind her and 
her figure is bathed in a ruddy, flickering glow.] 

Tom 

\With a cry, covering his face as if to shut out some dreadful 
sight] Ah! No! Not that! Dear God, not that — not 
that — 

Rita 

[Terrified.] Vhat? Vhat you say — ? 

Tom 

[Pointing at her.] Look — ! The red light — hell is burn- 
ing— 

Rita 

[Beginning suddenly to cry like a frightened child.] Oh — ! 
Oh — ! I am afraid! 

Tom 

\Wildly.] Afraid — ! Afraid — ? Miserable sinner, 
how can you live with that horror staring in your eyes? 
The vision of that dreadful day when the sun is smitten, 



ACT III 211 

and the moon is blood, and the great stars reel and fall 
down from the sky — 

Rita 

I don' believe — no — no, I don' — I don' - 

Tom 

When the graves are broken, and the sea gives up its 
dead — and great and small they stand before Him and He 
sits in judgment — 

Rita 

[Trying to interrupt him.] Meestair Tom — jus' vait 
vone meenute — 

Tom 

[Going on.] Don't you hear that great Voice like a light 
that blinds — "I made you keeper of my vineyards. But 
your own vineyards you have not kept. So you shall 
drink from the cup of the wine of the fierceness of My 
wrath and be cast into the bottomless pit and the lake of 
fire. And there, in the midst of your eternal torment you 
shall hear the alleluias in the rainbow round My throne!" 
[He sinks into a chair, and buries his face in his hands. A 
pause. Rita, who has risen, now comes nearer him.] 

Rita 

[Simply.] I am qvite sure dis is de las' time dat ve spik 
togedder — de las' time dat I look upon your face. An' so 
I vant to tell you jus' a leetle somet'ing — an' den — veil, 
mebbe I can say good-bye. [She comes a little nearer and 
speaks at first with some difficulty.] You are ver' kin' to 
t'ink of me so much, aftair all de trouble I 'ave bring. An' 
I t'ank you — I shall alvays be oblige'. But, dear, you 
can forget me now. It is all right. Your vork is done. 



212 ROMANCE 

Tom 
What's that? 

Rita 

Before I meet you I did not know much vhat a voman's 
life should be. But now I know. You show me. An' I 
cannot do dose ol' t'ings any more. 

Tom 

[Looking up at her.] You don't mean — ? 

Rita 

[Her eyes shining.] I vant to make my life all good — 
like yours! Ah, yes, I know dat vill be 'ard, but I don' 
care! An' mebbe de kin' Madonna she vill 'elp me, vhen 
she sees me try! [She clasps her hands, the dawn of hope in 
her face.] 

Tom 

[Staring at her.] Your lips drop as the honeycomb. 
Your mouth is smoother than oil. But your feet go down 
to death, and your steps take hold on hell. 

Rita 

[A little anxious.] You don' t'ink God, 'E vill forgive 
me — no? [Smiling.] Ah, foolish vone — ! 'E vill ! Did 
'E not make my face so men 'ave alvays love me? Did 'E 
not put my voice 'ere to delight de vorld? Did 'E not give 
to vone poor leetle girl, who ask 'Im nodings, so much to 
carry dat she lose 'er vay? 'E vill not be surprise she 
stumble sometime. 'E vill not scol' much vhen she make 
meestake. 'E vill jus' smile an' keep 'Is candle burning. 
An' in a leetle vhile she see it, an' come 'ome! 



ACT m 213 

Tom 

Promise me something — 

Rita 

Vhat? 

Tom 

Take my hands and look me in the eyes and promise me 
never to give yourself to any man again. 

Rita 
Ah! I knew it! You 'ave not believe me! 

Tom 

[Wiping the sweat from his forehead.] Of course I believe 
you but promise me. For God's sake, promise just the 
same! 

Rita 

[Turning away in agony.] Ah, vhy don' you trust me? 
Vhy you doubt me so? 

Tom 
[Loudly.] You won't — ? 

Rita 

[Turning.] 'Ere — take my 'ands. [He seizes them.] 'Ow 
col' you are! I promise — vhat you vant I say? — never 
to give myself to any man again! 

Tom 

[Devouring her with his eyes.] You swear it? 

Rita 
Yes, I svear! Now are you satisfied? 



214 ROMANCE 

Tom 

[Suddenly uttering a cry of pain and hideous unrest.] Ah! 
[He pushes her away from him.] 

Rita 

Vhat is it now — ? 

Tom 
I've just remembered that you swore before! 

Rita 
[Shrinking as she understands.] No — no! 

Tom 

You put your hand on my dear mother's Testament and 
you looked up, just as you're looking now — 

Rita 

[Putting up her hands as if to ward off a blow.] No — 
stop it! 

Tom 
And you lied, and lied ! You lied to me — 

Rita 
No — don' — please — it is all diff'rent now — 

Tom 
Different? I don't see it. Why, it's just the same! 

Rita 

No — no! I tell you I am diff'rent! / 'ave change! I 
am going now to be good! 



ACT III 215 

Tom 

But can you? 

Rita 

Listen! I tell you 'ow I show! I vill stop singing, fin' 
out a convent vhere dey take me in an' — [Suddenly.] 
Ecco! I 'ave it! Dere are some nuns near Geneva who 
nurse de sick. I vill go straight from Napoli, learn 'ow to 
'elp, an' vork until dis flesh fall from de bone! 

Tom 
You'll do that just to show me you're sincere? 

Rita 

[Imploringly^ I vill do all you vant! Yes, anyfingl 
Only believe me, jus' believe — or else I die! 

Tom 
[Deeply moved.] All right. I take you at your word. 

Rita 
[Hardly daring to believe.] You mean it — ? 

Tom 

[Huskily, his face working.] Yes. God bless you, dear. 
Good-bye. [He turns away.] Before I go — there's some- 
thing I forgot — [Remembering.] Oh, yes! Your cross — 
your pearls. You left them at the Rectory. [He has un- 
folded his handkerchief and taken from it the jewels. As he 
lays them on the table he sees Van Tuyl's card, left there by 
Signora Vannucci at the beginning of the act. He stands 
. rigid. A moment's pause.] 



2i6 ROMANCE 

Rita 

T'ank you. [Her voice changes as she sees his face.] 
Vhat is it? 

Tom 

[Trying to point.] That card — Van Tuyl — [He chokes 
suddenly.] 

Rita 

[Anxiously.] Meestair Van Tuyl. Yes? 

Tom 
\With difficulty.] He's been here then? 

Rita 
[Looking at him.] Si — si — 

Tom 

[Putting his hand to his throat.] Tonight? 

Rita 
Yes. 

Tom 

[Hardly able to contain himself.] When? 

Rita 
Jus' before you come. 

Tom 

[Seizing the card and crumpling it in both hands.] Oh! 
What a fool I've been! What a fool! What a fool! What 
a blind, miserable, wretched /oo^/ 

Rita 

Vhat is it? Tell me! Vhat 'as 'appen? 



ACT m 217 

Tom 

Why didn't I feel it as soon as I saw you in that indecent 
dress, with your hair unbound, and the night-light burn- 
ing? Why didn't I smell it in the sickening perfume that 
this whole place reeks of — 

Rita 
Vhat you mean? O dear Lord, vhat you mean? 

Tom 

Don't try to cheat me any more! I know what's hap- 
pened in this room tonight ! While I was tramping through 
the storm and snow, praying with my whole heart for your 
soul's redemption — [Pointing to the bedroom.] — you lay 
there laughing in your lover's arms. 

Rita 

[Stung.] No — no! Dat is not so, I say — not so — not 
so! 'E come in kin'ness, jus' because 'e feel ver' sorry for 
me, an' vhen 'e ask me to go back to 'im, I 'ave refuse! 

Tom 

What — ? 

Rita 

I 'ave refuse! You 'ear me? I 'ave tol' 'im "iVo/" An' 
'e is great beeg man, an' on'erstan'. An' den I t'ank 'im, 
an' ve say good-bye. 

Tom 

[Fiercely.] You lie! Why, look at those two chairs — 
so close together! They look like a refusal, don't they? 
And those glasses — champagne — 



2i8 ROMANCE 

Rita 

No — no ! It is qvite diff 'ren' ! You are all meestake — 

Tom 

[More and more fiercely] A private orgy, planned and 
thought out days ahead ! Your last caresses — [He has 
seized the table cloth with both hands.] 

Rita 
Oh, take care! 

Tom 

[Between his teeth.] A farewell debauch — [He pulls the 
cloth and drags everything to the floor with a crash.] 

Rita 

[Closing her eyes.] Oh — ! 

Tom 

[Turning on her.] Now do you dare deny Van Tuyl's your 
lover? 

Rita 

[Her eyes still closed.] Ye&\ Yes! I do! I do! [Begin- 
ning to sway a little as she speaks.] I 'ave refuse 'im an' I 
tell you vhy! I fought it was because my 'eart 'ave 
change, because I vant so much to be good! But now I 
know dat I vas all meestake! I 'ave not change! My 
'eart, it is not good ! / break vit 'im because I love anodder — 

Tom 

[Ready to kill her.] Who is he? 

Rita 

[Half -fainting, as she opens her eyes and sways towards 
him, holding out her arms.] You — 



ACT III 219 

Tom 

[Turning sharply as if she had struck him with a whip.] 
Don't! 

Rita 

[Pulling herself together.] Forgive me — 

Tom 

[Twisting his hands as if in prayer.] Oh, my God! Oh, 
my God! 

Rita 

[Her back to him, holding the big chair for support.] An' 
now — if you don' min' — I mus' ask you — to leave me — 
it is almos' midnight — you 'ave your service in de 
church — an' I myself mus' — try to sleep a leetle — 
[Turning with an enormous effort and holding out her hand 
with a smile.] So good-night ! I 'ope you — [Her words die 
away as she sees the expression on his face. Then in a sudden 
paroxysm of terror.] Vhy you look at me like dat? [A brief 
pause.] Please go avay! [He doesn't move.] Go avay! 

Tom 

[Starting, wiping his forehead nervously, and trying to ' 
speak in his natural voice.] All right, I'm going. Yes, 
I'm going. [His tone deepening.] But first there's some- 
thing we must do — what is it? I forget — oh, yes, of 
course — of course! We must pray together — that's it! 
Pray for your soul and for your soul's salvation — 

Rita 

[Nervously.] No — go now! I am in God's 'ands. 'E 
vill take care of me. [In quick fear, he comes towards her.] 
Oh, vhat you vant? 



220 ROMANCE 

Tom 

[Thickly.] Come here — [He seizes her by the arm.] Kneel 
down ! [He sits on the couch and draws her down before him 
between his knees.] There! That's right! Give me your 
hands ! [He fumbles, finds them, and holds them tight against 
his breast. A silence, they look into each other's eyes.] 

Rita 

[Suddenly in wild terror as she looks up at him.] Pray! 
Vhy don' you pray? Prayl [Half-smothered.] O Gesu — 
[In a silent fury of passion he has leaned forward, drawn her 
up to him, and crushed her in a terrible embrace.] 

Tom 

[Triumphantly.] It's all over! I thought I came here 
to save you, but I didn't! It was just because I'm a man 
and you're a woman, and I love you, darling — I love 
you — I love you more than anything in the world — [He 
is kissing her frantically.] 

Rita 

[Half fainting.] Oh — ! 

Tom 

[Between his kisses.] My dearest — my precious — I've 
never felt this way in all my life before — [With a laugh.] 
What a fool — what a fool I've been! But that's all 
right, it's not too late — we're here — together — and 
the night is ours — 

Rita 

[Terrified.] No — no! 

Tom 

It's ours — the whole, long splendid night — it's ours, 



ACT III 221 

I tell you — every marvellous minute — why, God Him- 
self can't rob us of it now! 

Rita 

[Struggling.] Don' — please — ! Oh, take avay your 
'ands — 

Tom 
I won't — 

Rita 

It is because I love you — 

Tom 
[Leaning forward to kiss her.] Ah — ! I knew — ! 

Rita 

[Pushing him away from her.] An' so, because I love you, 
I mus' save you from yourself! 

Tom 
You can't — it's too late — 

Rita 

Now leesten — please 1 It is you who 'ave teach me 
vhat is love ! I 'ave know nodings — nodings — till you 
show me — all ! 

Tom 

Till / — ? [He breaks into a peal of jangled laughter.] 

Rita 

To love a man is jus' vone big forgetting of vone's self — 
to feel so sorry for 'im dat it break your 'eart — to 'elp 'im 
vhen 'e need 'elp if it cost your life — 



222 ROMANCE 

Tom 

[Laughing again.] Oh, darling — you don't really think 
that's love — ? 

Rita 

I know it — now! [With a sudden sob.] But, oh, I learn 
it in such pain an' sorrow! [In passionate entreaty.] Don't 
take it from me, now dat it is mine! 

Tom 

Oh, nonsense! That's not love — why, that's the sort 
of thing I used to talk! [Intoxicated.] But I know better 
now! It's you who've taught me ! Love Isn't thinking or 
forgetting about anything — love's just feeling — it's being 
awfully sick and faint — as if you hadn't had anything to 
eat for years and years — it's — 

Rita 

[Interrupting.] Don' — ! Don' — ! You mus' not talk 
dat vay — 

Tom 
[Moistening his lips.] I love you — 

Rita 

[In despair.] Oh, t'ink of dat beeg lake — de lake of fire 
— de smoke an' torment dat you tell me of I 

Tom 

[Recklessly.] I know I'm lost! I'm done for, damned 
forever! But I'll have had this night, so I don't care! 

Rita 
But 7 care! I care! 



ACT III 223 

Tom 
[Panting.] I'm going to kiss you — 

Rita 

[Wild with fright.] Don' touch me — no — go back — 
please — keep avay — 

Tom 
I won't — 

Rita 
[Shrinking against the sofa.] For God's sake — 

Tom 

[Seizing her in Ms arms.] My darling — 

Rita 

[Closing her eyes.] I am all alone. I 'ave no strengt'. I 
cannot fight against you any more. But now, before it is 
too late, remembair — oh, remembair vhat I say! Dis is 
de vone big meenute in my life. De kin' of voman I vill 
alvays be, it is for you to say — 'ere — as ve stan' in dis 
room — now! [L^^e a cMJ.] Oh, Meestair Tom! Please 
— please let me be good! Don' treat me like de odders 
'ave! Don' make me bad — again! You are a man God 
send to 'elp de vorld. All right — 'elp me! I need you! 
Go avay! My 'eart, it vill go vit' you alvays, but I don' 
care — jus' so you let me keep my soul! 

[She stands transfigured. As she speaks he slowly releases 
her and sinks to his knees. His face is buried in his hands. 
There is a pause. 

Then, in the distance, sounds the first note of the midnight 
hell. As it continues, a choir of men's voices — sturdy 



224 ROMANCE 

and sweet — strikes up far away. It gradually comes 
nearer. They are singing the old Lutheran hymn "Ein 
Feste Berg.'' As Tom hears them he rises unsteadily to his 
feet. He passes his hand over his forehead, as one awakening 
from a dream.] 

Tom 

[In his natural voice, very formal and polite, hut a little 
constrained.] I beg your pardon — I must take my leave — 
[As he looks about for his hat.] My church — the choir — 
procession — join them as they reach the Avenue — my 
apologies — disturbing you at such an hour — 

Rita 

{Her eyes closed, crossing herself and murmuring almost 
inaudibly.] Ave Maria gratia plena — Sancta Maria Mater 
Dei — 

Tom 

[At the door.] I beg you to accept — very best wishes — 
coming year — my — my — good-night — good-bye — 

Rita 

{As before.] — or a pro nobis peccatoribus nunc et in hora 
mortis — 

\He is gone. Only her praying figure remains. The 
hymn swells to triumph as the lights fade. The scene is in 
darkness. For a moment the noise of the chimes and bells con- 
tinues. Then it gradually dies away. The singing voices are 
no longer heard. A little band is playing the hymn. It is 
almost grotesque — so very thin and cracked and out of tune. 
To this music and the fading sound of the bells, the lights 
gradually appear. They reveal the scene set for the Epilogue.] 



THE EPILOGUE 

Scene: The Bishop's library again. The Bishop is sitting 
in the red glow of the dying fire, finishing his story. His 
grandson is at his feet. Outside are heard the last echoes 
of the bells and whistles. The little street band is still play- 
ing "Ein Feste Berg" — a lamentable performance. 

The Bishop 

. . . And that's how I remember her — standing there 
with her hair loosened and her eyes shut. She crossed her- 
self. I think now she was praying. And the next thing I 
knew I was on the sidewalk and my choir — God bless 
'em ! — were swinging round the corner of Tenth Street, 
marching like soldiers to the same tune those wretched 
Germans are murdering outside there now — [As they strike 
a particularly distressing dissonance.] Ah — ! Really, 
that's too much! Give them a quarter, Harry, and tell 
them to go away. [As the young man rises and goes to the 
window.] "Ein Feste Berg" — ! How well we used to sing 
it at St. Giles' — ! [He smiles and shakes his head.] 

Harry 

[Throwing up the window and calling.] Hi — you! That'll 
be enough for tonight ! Catch ! [He throws out a coin. The 
music stops. There is silence, save for a few far-of horns.] 

The Bishop 

[Rousing himself as Harry returns and putting the dead 
violets and the handkerchief in his pocket.] So that's what I 

225 



226 ROMANCE 

wanted to tell you, my boy! I came home that night a 
different — and I think a better man. It was the following 
June that your dear grandmother and I were married. Mr. 
Van Tuyl came all the way from Madrid just to be there 
and to give his niece away. They're fine people — the 
Van Tuyls. But your grandmother was the finest of them 
all. She understood the world and loved it, too. She 
made my life a happy one — a very happy one indeed! 

Hahry 
[Boyishly.] And — Madame Cavallini? 

The Bishop 

[Still looking in the fire and smiling.] She became even 
more famous before her retirement. But, of course, you 
know. 

Harry 

Where is she now? 

The Bishop 

Now? I'm not sure, but I believe she's in Italy some- 
where — living rather quietly. [Wistfully.] She and Patti 
are the only ones left. A wonderful career, my boy. A 
very great artist. I never saw her again. 

Harry 

[Patting his arm awkwardly.] I think you're just a 
corker! 

The Bishop 

[Smiling.] Nonsense! But now I hope you understand 
I haven't quite forgotten what it feels like to be young. 
And although it's true I always read the Evening Post, I 
still can sympathize — and even presume to offer some 
occasional advice! 



EPILOGUE 227 

Harry 
I know, and I appreciate it. 

The Bishop 

[Very solemnly.] My dear, dear boy, unless your love is 
big enough to forget the whole world and yet remember 
Heaven, you have no right to make this girl your wife. 
[A pause.] 

Harry 

[Rising abruptly.] Grandfather, I've been an ass! [He 
puts his hands in his pockets and walks away.] 

The Bishop 

[Whimsically, as he wipes his glasses.] I suppose you 
have, Harry — I suppose you have. 

Harry 

[Turning back again.] I've been an ass to hesitate one 
single minute ! However, it's all right now. Your story's 
settled it. Lucille and I are going to get married as soon 
as ever we can. 

The Bishop 

[Thoroughly startled.] God bless my soul ! But that isn't 
why I told it to you ! I wanted to get this nonsense out of 
your silly young head! 

Harry 

[Laughing affectionately as he stands behind the Bishop's 
chair and pats his shoulders.] Nevermind! You did some- 
thing quite different and it's too late now to change — 
[Suddenly.] By the way, have you any engagement for to- 
morrow afternoon? 



228 ROMANCE 

The Bishop 

[SHU flustered.] I — I can't say that I recall any at this 
moment — 

Harry 

Then do you mind if we make one now? I want you to 
marry Lucille and me. How about four:thirty tomorrow? 

The Bishop 
[Gasping.] Fourrthirty — ? 

Harry 

[At the door, shyly.] I don't know how to say it, grandpa, 
but — but Lucille and I — well, we'll be grateful all our 
lives for what you've done for us tonight. [He goes out 
quickly, his head bent.] 

The Bishop 

Well! Well! I declare! [He takes out his spotless hand- 
kerchief and passes it nervously over his brow. The door opens 
and Suzette appears, smiling brightly.] 

SUZETTE 

[Standing at the door.] Happy New Year, grandpa I 

The Bishop 
Happy New Year, my dear! 

Suzette 
[Coming to his chair.] Well — ? 

The Bishop 

Suzette, I want you to order some white flowers and some 
black wedding-cake — 



EPILOGUE 229 

SUZETTE 

[With a wriggle of delight.] Oh — ! 

The Bishop 

[Finishing.] For tomorrow afternoon — four:thirty, I 
believe. 

SuZETTE 

[Flinging her arms around his neck.] You duck! 

The Bishop 
[With some asperity.] Don't kiss me in the ear! 

SuZETTE 

[Triumphantly.] I just knew Harry could get around 
you! 

The Bishop 

[Drily.] Oh, did you? Well, then, now that you two 
have arranged everything to suit yourselves, would you 
please finish reading me my paper and then go to bed? 
[He leans back comfortably and closes his eyes.] 

Suzette 

[Going to the desk.] Where is it? Oh, yes! Wait till I 
turn on the lamp — [She does so, sits down, sighs, and un- 
folds the ''Post:'] 

The Bishop 

Is there any foreign news? 

Suzette 

[Carelessly.] Oh, just some uprising in Portugal — a new 
Chinese loan — [Turning the page.] Why, Cavallini's dead 1 



230 ROMANCE 

I thought she died a long time ago, didn't you? [She reads 
to herself. A slight pause.] 

The Bishop 
What does — it say? 

SUZETTE 

Oh, it's just a cable. [Reading.] "Milan — Decem- 
ber 30. Mme. Margherita Cavallini died this morning at 
her villa on the Lake of Como." 

The Bishop 
Is that — all? 

Suzette 

That's all the dispatch. There's a whole column of 
biography stuck on underneath. Shall I read it? [Stid- 
denly.] Oh, oi course [ I forgot! She and Patti were your 
two great operatic crushes, weren't they? Well, she was 
bom at Venice in 1841. That makes her — [Looking up 
thoughtfully.] Let me see — 

The Bishop 

Don't tell me how old she was! 

Suzette 

[Smiling.] All right. [Running her eyes down the column.] 
Debut at Milan in 1859 — Forze delta Destine. I never 
heard of it, did you? Sang prima donna roles at the Italian 
Opera in Paris under the direction of Rossini — brilliant 
figure during the last years of the Empire — success in 
London — hm ! — brought to this country first by Stra- 
kosch — appeared as Mignon at the Academy of Music — 
[Looking up.] Everyone went mad over her, didn't they? 



EPILOGUE 231 

[Resuming.] Opera and concert tours over all the civilized 
globe — retired in 18S9 — numerous charities — founded 
and endowed a home in Paris for poor girls who come to 
study music — in 1883 created Marchese Torrebianchi by- 
King Umberto First — never married — that's funny, isn't 
it? [Turning the page.] Well, no matter what you say I bet 
she wasn't a bit more wonderful than my divine Geraldine! 
[Reading headlines.] "Anglican Congress at Detroit — City 
Chosen for June Conference — Federation of Churches — 
Further Plans." [Bored.] Oh dear! There's the old Con- 
ference again ! [She yawns and, looking up, notices that the 
Bishop's head has fallen.] Sleepy, grandpa? 

The Bishop 

[Rousing himself.] I — ? No, my dear, I was just think- 
ing — that's all. 

SUZETTE 

[With affectionate impudence.] I don't believe it! [Yawn- 
ing.] Well, I am, anyway. May I go to bed now? There's 
so much to do tomorrow — and I think I've finished every- 
thing in this. [She puts down the paper and rises.] 

The Bishop 
Of course, my dear, of course. 

Suzette 

[As she alights like a bird on the arm of his chair and kisses 
the top of his head.] Oh, grandpa, you are such an old dar- 
ling! 

The Bishop 
Thank you, my dear. 



232 ROMANCE 

SUZETTE 

[At door.] And please don't sit up too late, will you? 
And don't forget to turn off all the lights before you come 
upstairs! 

The Bishop 

[Meekly.] I'll do my best. 

Suzette 

Grandpa — ! [He turns in his chair. She smiles and 
blows him a kiss.] I love you ! [She runs out.] 

The Bishop 

[Calling after.] The same to you, my dear. Good-night. 
[He sits alone for a moment in silence, then, rising slowly, he 
closes the door and listens. There is no sound. Almost 
stealthily he goes over to the case where the phonograph records 
are kept, puts on his glasses, and looks over those lying on the 
top. Finally he selects one with much care and gingerly puts 
it on the machine. He starts it going. Then, switching ojff 
the lights, he returns to his armchair by the fire. The red 
glow from the coals lights up his face. He carefully takes from 
his inside pocket the dead violets and the woman's handker- 
chief. Looking at them, he smiles a tender little ghost of a 
smile and slowly sits down. The rich voice thrills through the 
darkness. 

" — Kennst du es wohl? 

Dahin! Dahin! 
MdcM ich mit dir, mein Geliebter, ziehnl" 

the curtain softly palls 



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